2023 SVG Yearbook

Page 1

2023

SPORTS PRODUCTION

YEARBOOK

THE STATE OF THE

REMOTE PRODUCTION BUSINESS

FEATURING SVG DEEP DIVE: An Inside Look at CBS Sports, Fox Sports, ESPN, & NBC Sports PLUS SPOTLIGHT on Thursday Night Football With Amazon Prime Video

INCLUDING THE 17TH ANNUAL

BROADCAST SERVICES PROVIDER DIRECTORY and SPORTS PRODUCTION GEARBASE



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19 West 21st Street, Suite 301, New York, NY 10010 212.481.8140 | f: 212.696.1783 www.sportsvideo.org EXECUTIVE DIRECTORS PAUL GALLO, Executive Director paul@sportsvideo.org | 212.696.1799 KEN KERSCHBAUMER, Executive Director kenkersch@sportsvideo.org | 646.205.1810 MARTIN PORTER, Executive Director marty@sportsvideo.org | 516.446.2029 EDITORIAL JASON DACHMAN, Chief Editor jason@sportsvideo.org | 646.861.2373 BRANDON COSTA, Director of Digital brandon@sportsvideo.org | 646.861.2370 KRISTIAN HERNÁNDEZ, Senior Editor kristian@sportsvideo.org | 646.880.4902 SAMANTHA GABAY, Digital Content and Social Media Coordinator samantha@sportsvideo.org SUSAN QUALTROUGH, Copy Editor susan@sportsvideo.org RIVA DANZIG, Art Director riva@sportsvideo.org SVG SERVICES KAREN HOGAN KETCHUM, Director of Production karen@sportsvideo.org | 646.559.0434 KATIE CHAMPION, Production and Operations Associate katie@sportsvideo.org | 646.524.7497 CRISTINA ERNST, Event Operations Director cris@sportsvideo.org | 917.309.5174 ALICIA HOPKINS, Meetings and Events Manager alicia@sportsvideo.org | 646.880.4901 ANDREW LIPPE, Membership & Client Services Manager andrew@sportsvideo.org | 212.481.8133 SPONSORSHIP ROB PAYNE, Managing Director, Worldwide Sponsor Development rob@sportsvideo.org | 212.481.8131 ANDREW GABEL, Director, Sponsor Development agabel@sportsvideo.org | 646.998.4554 DYLAN DAVIDSON, Sponsorship Coordinator dylan@sportsvideo.org | 646.559.0435 SVG EUROPE CONTACTS JOE HOSKEN, General Manager joe@sportsvideo.org | Tel: +44 74290 90134 ABOUT SVG

The Sports Video Group was formed in 2006 to support the professional community that relies on video, audio, and broadband technologies to produce and distribute sports content. Leagues, owners, teams, broadcasters, streamers, and venues have joined SVG to learn from each other, turn vision into reality, and implement innovations, while sharing experiences that will lead to advances in sports production/distribution and the overall consumer sports experience.

MISSION

To advance the creation, production, and distribution of sports content. To provide a knowledge resource for the growing community of sports video professionals working for broadcast/broadband organizations, professional teams and leagues, collegiate and secondary schools, and facilities. To facilitate a dialogue with manufacturers, suppliers, and technology developers that will improve the quality and profitability of sports programming.

Sports Production 2023 Yearbook © 2023 Sports Video Group. PUBLISHED IN THE USA.

2023SVGYEARBOOK

7 LOOKING AHEAD

Welcome to the 2023 SVG Sports Production Yearbook!

13 SVG DEEP DIVE 16 CBS Sports 24 Fox Sports 32 ESPN 40 NBC Sports 48 Spotlight on Thursday Night Football with Amazon Prime 65 EXECUTIVE PERSPECTIVES: The State of the Remote Production Business 91 SPORTS BROADCASTING HALL OF FAME

96 100 104 108 112 116 120 124 128

Terry Adams Terry Bradshaw Joe Buck Drew Esocoff Roger Goodell Ross Greenburg Manolo Romero Deena Sheldon Darrell Wenhardt

135 BROADCAST SERVICES PROVIDER PROFILES

135 3g Wireless Advanced Image Robotics Advanced Systems Group AE Live Aerial Video Systems All Mobile Video Allied Broadcast Group 138 Alpha Video ARCTEK Satellite Productions Azzurro HD BeckTV Bexel Broadcast Management Group Broadcast Services International Broadcast Sports International 142 CES Power CineSys Clark Conference Technologies Inc. CP Communications Creative Mobile Solutions DigitalGlue Diversified DNA Studios 146 Dome Productions DX3 Media Encompass

146 ES Broadcast Estes Forwarding Worldwide Filmwerks Power, A Sunbelt Rentals Company Fletcher Sports FlyCam Game Creek Video 150 Geartech Technologies Gravity Media HLW Illumination Dynamics Integrated Media Technologies Key Code Media KMH Integration LH Computer Services Live Media Group 154 Markertek Mediapro MeyerPro Mobile TV Group NEP OSA International Pixera Planetcast PRG 158 Production Rockstars Program Productions PSSI Global Services Reality Check Systems RF Wireless Systems Robovision Ross Production Services Rush Media Skycam SOS Global 162 Spalk ST Engineering iDirect Suitelife Systems SuperView Systems Innovation The Famous Group Veterans-TV VidOvation VISTA Worldlink Zero Density

Table of Contents

SPORTS PRODUCTION

167 VENDOR SERVICES DIRECTORY 167 Crew Services 172 Generators 180 Mobile Production Units 192 Satellite Trucks 192 SPORTS PRODUCTION GEARBASE

242 SPONSOR AD INDEX SPORTS PRODUCTION 2023 YEARBOOK

5



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Looking Ahead

By Ken Kerschbaumer Sports Video Group, Executive Director, Editorial

W

elcome to the 2023 SVG Sports Production Yearbook, our annual overview of not only the latest remote production trucks to be on the road (be sure to spend some time with our Sports Production Gearbase, beginning on page 199) but also reflect back on the state of the business and the accomplishments from some of the biggest names in the industry. The good news is that, overall, the state of the remote production industry is solid. As you’ll read beginning on page 65, those who offer remote production facilities and services have been faced with a multitude of challenges, but they have managed to weather them and are optimistic about the future. The continued growth in the number of sports events that are being delivered to fans coupled with advances in technologies like IP and the cloud have helped with allowing production teams to work in more cost-effective ways. And it appears that the cooling inflation rate will help improve the bottom lines of contracts that were written in pre-inflationary days and left many of the remote production service providers in a bad spot. One lesson from 2022 is that both clients and providers need to work together to offset unforeseen financial pain. What does 2023 hold? Clearly the nature of this Yearbook will continue to become less about production trucks on wheels and more about production facilities that are connected to or include large data centers. The good news for those who love the freewheeling nature of the sports production industry is that there will still be plenty of need for production trucks to be onsite and for new trucks to hit the road. The better news is that having production trucks onsite connected to production centers afar means less people on the road, a chance for the industry to attract homebodies as well as road warriors, and an industry that is more green and environmentally friendly without needing to be pushed to do so. A key part of those efforts involves the manufacturers and equipment suppliers that are also in the midst of massive change. The 2023 NAB Show promises to see lots of, well, promises around virtualized hardware and cloud-based tools for live production as there are still some key technology providers who do not have a cloud strategy. One thing is clear: the remote production service providers are looking to keep their clients happy and, increasingly, the words “cloud” and “virtualized” are part of contract negotiations and workflows. It’s of the utmost importance to a healthy industry economy that as many vendors are ready to make the leap to those technologies as possible. The Yearbook has always been a place for those in our industry to find answers. Answers about what trucks and remote production service provider can best meet their needs. Answers about key accomplishments and offerings from SVG sponsors. And thought leadership about the future of the business. And with more questions than ever, the answers found in our SVG Sports Production Yearbook are more important — and critical — than ever. We hope you enjoy this year’s edition and please let us know what you think!

CHAIRMAN Michael Davies, Fox Sports, SVP, Technical and Field Operations EXECUTIVE COMMITTEE Ken Aagaard, SVG Chairman Emeritus and Sports Broadcasting Hall of Fame Chairman Andrea Berry, NBCUniversal –Telemundo and Latin America, EVP, Operations and Technology Eric Black, NBCUniversal, SVP, Sports & Entertainment Technology Chris Brown, WBD Sports, VP, Tech Operations Jason Cohen, CBS Sports and CBS Sports Network, VP, Remote Technical Operations Mike Connelly, Bally Sports, EVP and Executive Producer Scott Gillies, SkyRae, President Steve Hellmuth, SVG Chairman Emeritus and NBA Entertainment, EVP, Media Operations and Technology Jeff Jacobs, NEP Group, SVP and Head of Production Patty Power, CBS Sports, EVP, Operations and Engineering Tom Sahara, SVG Chairman Emeritus and Industry Consultant Susan Stone, MLB Network, SVP, Operations and Engineering ADVISORY BOARD MEMBERS Adam Acone, NFL Network, Director, Media Operations and Planning Glenn Adamo, Ivanhoe Media and Entertainment, President Peter Angell, Industry Consultant Craig Bernstein, NBC Sports, VP, Remote Technical Operations and Engineering Marsha Bird, NBC Olympics, VP, Olympic Operations Onnie Bose, NFL, VP of Broadcasting Dylan Boucherle, Warner Media/Turner Studios, VP, Technology Strategy and Media Workflows Kendall Burgess, Bally Sports, VP, Technical Operations Tab Butler, Industry Consultant Chris Calcinari, ESPN, SVP, Production Operations, Disney Media and Entertainment Kevin Callahan, Fox Sports, VP, Field Operations Mary Ellen Carlyle, Dome Productions, SVP and GM Brad Cheney, Fox Sports, VP, Field Operations and Engineering Ken Clausen, HBO, Director of Production Joe Cohen, Industry Consultant Michael Cohen, United Soccer League, EVP and Head of Broadcasting and Media Don Colantonio, Industry Consultant Scott Davis, CBS Sports, VP of Broadcast Operations Jim DeFilippis, Industry Consultant Ed Delaney, Industry Consultant Jed Drake, Industry Consultant David Dukes, PGA Tour Entertainment, Senior Director, Technical Operations Patti Fallick, USTA, Managing Director, Broadcast Mike Francis, CBS Sports, VP, Engineering and Technology Karen Ganjamie, MLB Network, VP, Broadcast Operations and Network Origination Jerry Gepner, CP Communications, COO Steve Gorsuch, Industry Consultant Ken Goss, NBC Sports Group, SVP of Remote Operations and Production Planning Mark Haden, NHL, Group VP, Broadcast Technology Rob Hedrick, NHRA, Tech Manager, Director of Production and Supervising Producer Ed Holmes, The Holmes Group, Principal Deb Honkus, NEP Broadcasting, Chairman of the Board George Hoover, Industry Consultant Darryl Jefferson, NBC Sports Group, VP, Postproduction and Digital Workflow Robert D. Jordan CFE, 1337 Facilities, CEO; Venue Road, Founder John Kvatek, FX Group, Director, Sports Broadcast Development John Leland, PSL International, LLC, Principal Glen Levine, NEP, President, U.S. Louis Libin, Broad Comm, President Jodi Markley, Industry Consultant Geoff Mason, Industry Consultant Bernadette McDonald, Major League Baseball, SVP, Broadcasting Ken Miller, Amazon, Director, Live Content Production and Operations Rama Motwani, WWE, Director, Digital Products Grant Nodine, NHL, SVP, Technology Ken Norris, UCLA, Director of Video Operations Gary Olson, GHO Group, Managing Director Del Parks, Sinclair Broadcast Group, SVP and CTO Scott Rinehart, University of Notre Dame, Director, Broadcast Technology Larry Rogers, FirstInTV, President Mike Rokosa, NHRA, Technology Executive Scott Rothenberg, NEP, SVP, Technology and Asset Management Oscar Sanchez, CONCACAF, Director of Broadcast Operations David Schafer, MSG Networks, SVP, Operations Bruce Shapiro, Industry Consultant Tracey Shaw, Digital Joy, President and Co-Founder Don Sperling, New York Giants Entertainment, VP and Executive Producer Jared Stacy, Amazon, Director, Global Live Sports Production Jerry Steinberg, Industry Consultant Steve Stum, NASCAR Productions, VP, Operations and Technical Production Patrick Sullivan, Game Creek Video, President Jason Taubman, Game Creek Video, VP, Design/New Technology Tina Thornton, ESPN, SVP, Content Operations Larry Tiscornia, Industry Consultant Jacob Ullman, Fox Sports, SVP, Production and Talent Development Eli Velazquez, Telemundo Deportes, EVP, Sports Content John Ward, Amazon, Senior Manager, Technical Operations Ernie Watts, Turner, Manager, Transmission Operations Center Mike Webb, YES Network, VP, Broadcast Operations Jeff Willis, Industry Consultant Dave Zur, KSE Media Ventures, SVP, Operations and Engineering

SPORTS PRODUCTION 2023 YEARBOOK

Association Leadership

Welcome to the 2023 SVG Sports Production Yearbook!

The Sports Video Group Advisory Board comprises leading industry figures who are committed to technical excellence in sports production.

9


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SVG Deep Dive

DEEP DIVE An Inside Look at

CBS SPORTS, FOX SPORTS, ESPN, and NBC SPORTS

W

hen it comes to sports production in 2022, the industry saw a bit of everything. There was the return of large onsite productions, cutting-edge remote and cloud-based workflows, and then, of course, a mix of the two with certain production elements and their related staff working from home or a centralized production facility. The production and technical operations teams at CBS Sports, Fox Sports, ESPN, and NBC Sports found themselves trotting the globe more than ever for the Beijing 2022 Olympics Games, FIFA World Cup Qatar, and a cavalcade of other international events. Late last year, SVG spent some time with the production teams at the leading national networks to learn a bit more about their accomplishments in 2022 as well as their thoughts on the future. continued on page 16

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DEEP DIVE

F

rom the NFL and college football to NCAA March Madness, The Masters, PGA Championship, and everything in between, the CBS Sports operations and engineering teams are on a constantly moving train. VP, Remote Technical Operations, Jason Cohen; VP, Engineering and Technology, Mike Francis; veteran director Mark Grant, and EVP, Operations and Engineering, Patty Power look back at 2022 and address the year’s greatest challenges and triumphs. On how CBS Sports’ operations, engineering, and production teams work together: Power: I’m just so proud of our team and how well we all work together. Our operations, engineering, and production teams are in a good groove. It’s truly a marathon from September to June, and then we have the rest of the golf season. I’m also proud of how well we work with our partners, both leagues and other networks. We do a lot of joint productions with [WBD Sports], ESPN, DirecTV, and others. On how technology has impacted CBS Sports’ golf coverage: Francis: Golf is a unique sport to cover, as anyone who has dealt with it understands. There is a lot of geography [to cover], so you need a lot more cameras and personnel to get everything done. On the technology front though, it’s one of our favorites, because there’s so much [technology] out there. A lot of the golf technology, such as ball tracing, really adds to the coverage in a way that we didn’t have in the past. If you watch a golf shot without a trace [graphic], you have to wait until it lands to understand if it was a good shot. But, with

16

SPORTS PRODUCTION 2023 YEARBOOK

CBS Sports relied heavily on data-fueled AR graphics for its coverage of NCAA March Madness in 2022.

ball trace, you can get a good idea right away if it’s going to be a good shot or if he shaped that shot to play to the contours of the course. On the challenge of producing golf majors on a massive scale: Francis: The majors are more than just what you see on the CBS and ESPN air. They are multi-show events with dozens of trucks, and everything has to be interconnected. Craig Stevens and Evelyn Jackson on our team do an amazing job at making a seamless transition so it is one massive production facility in these extremely busy compounds. We also have great partners in NEP and Game Creek and F&F. Everyone comes together to operate as one production team. From the NFL to golf and everywhere in between, CBS Sports is constantly looking to add more cameras and technology to its coverage.


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DEEP DIVE

Top left: Romovision, in which top analyst Tony Romo breaks down the game virtually, has become a staple of CBS Sports A-game NFL coverage. Top right: CBS Sports and Nickelodeon combined to produce the Augmented Reality-laden ‘NickMas’ NFL broadcast on Christmas Day.

Grant on taking over as director for the 2023 NCAA Final Four broadcasts and how technology will play a role in the coverage: Grant: For a long time, I’d go to bed and dream about someday getting all those exciting tools on some of the events that I get to work. CBS has now asked me to direct the Final Four, so I will get my chance to do it. I’m very excited to finally be able to use those tools, but I want to make sure I don’t overuse them. When you get a new toy at Christmastime, you play with it a lot and tend to overuse it; I don’t want to do that. I want to take advantage of the technology and use it in ways to [enhance what] viewers are seeing, but I don’t want to fall in love with [the tools] and overdo it. On how CBS Sports used properties like SRX Racing (prior to its moving to ESPN in 2023) to experiment and innovate live-production technologies: Cohen: SRX Racing has been a hotbed of technology that we’ve always been able — whether [having] multiple cameras on cars, or drones with AR, or AR in the car and the booth. It was a great opportunity for us to test all those technologies so we could apply them to other sports. All these technologies are applicable to other sports; it’s just a matter of having the opportunity to test them. SRX provided us the opportunity to start from scratch and throw everything at the wall that we’ve ever wanted to try. Those opportunities are few and far between, so when you get them, you have to take them. On making high-end technologies usually reserved for A games available to B- and C- level broadcasts: Grant: I do one of the C-level NFL games every week, and it can be hard because Thursday Night Football, Sunday Night Football, our A game, Fox’s A game, or Monday Night Football are loaded and have a lot of technology. I think sometimes that technology works against the C games because we are being compared with those A-level games [by viewers]. But I can’t bring the quarterback on the field with my shallow–depthof-field camera because I don’t have one. Hopefully, it will reach a point where it’s cost-effective enough that we can share these tools with all of our games so there’s not such a disparity between the way the games look. Francis: To the vendor’s credit, a super-slow-motion camera was a pure specialty camera not terribly long ago. Now it’s essentially flipping a switch, and almost any camera can be super-slow-motion [with the correct license]. I think we maybe had one or two slo-mos on C games when I started [at CBS], and we now have multiple angles every week on every show. There has been progress there, and I hope that can continue.

20

SPORTS PRODUCTION 2023 YEARBOOK

On the ongoing technical challenges for AR, and how it could evolve in the future: Cohen: I think AR is not as much of a science project as it was 10 years ago. It’s still not perfect, by any means. I think we’re at the point where we don’t trust it completely and still take a deep breath before we have to use it, which is a problem. But, when it works, it works really well and is a true difference-maker. Francis: When it works perfectly,we love it.But one of the bigger challenges is integrating the tracking, graphics, and cameras and getting everything working together and synchronized. I know all the vendors are out there figuring that out. Ideally, much like super-slow-motion is today, where we flip the switch on a camera, in the future, we’ll execute AR by flipping the switch on the graphics machines and the cameras. Hopefully, that’s where it’s all heading. I hope it will not just be for marquee events but will be something we could execute across all our properties. On why the 2022 ‘NickMas’ NFL game produced by CBS Sports and Nickelodeon was the best vehicle to showcase AR: Cohen: The Nickelodeon [NFL game] is the perfect example of AR at its best-case use. AR is always great when it works on a regular game and you’ve got a giant screen hanging above the stadium, but to enhance a broadcast and bring characters to life and bring a show to life for the Nickelodeon audience is probably the best use case when it comes making AR help elevate a show. It’s a huge step forward in AR technology. On the state of UHD and HDR production and CBS Sports’ future plans: Power: From a sports perspective, we feel pretty strongly about it. There are certainly challenges with the distribution part. There are lots of internal discussions and lots of testing, but we know, from a production and operations standpoint, that we can do it. We have been doing it, so it’s nothing new for us. But it’s very important and a priority, and we’re pushing it internally as much as we can. Francis: What we’ve learned most recently is that, when we’ve done these test shows, AR is no longer the science project it once was. Sure, we give ourselves a little bit of extra time to get the engineering side flipped over and formatted correctly. But we’ve been able to produce our shows without any production sacrifices — super-slow-motion cameras are finally there now, and the graphics are getting there. It’s no longer a major technical challenge on the acquisition side. Certainly, nuance and some expertise are required, especially in video shading, but we’re ready and just waiting for a green light. We hope to flip the entire production in the coming years.


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DEEP DIVE

T

he fall is seemingly always a busy time for Fox Sports, but adding in the globe’s most-watched soccer tournament into the mix makes the broadcaster’s job a lot tougher. From the 2022 FIFA World Cup in Qatar and the plethora of NFL broadcasts to weekly college football broadcasts and daily college basketball games, the production and technical operations crews have a lot to deal with. Mike Davies, SVP, technical and field operations and SVG Chairman; Brad Cheney, VP, field operations and engineering; Sarita Meinking, executive director, field operations; and Rich Russo, lead NFL director, provided insight into their jam-packed schedule. On what it’s like operating during an intense period of productions, including the 2022 FIFA Men’s World Cup, the NFL regular season and playoffs, and more, and what needs to be done to produce shows with minimal hiccups: Meinking: We do 16 weeks of college football, and when you throw college football, NFL, and FIFA World Cup into the mix at the same time, it takes a lot of coordination. We’ve re-arranged our staff and stretched [our operations] more this year than we’ve done in a while. This includes maximizing all of our facilities as well in Charlotte and Los Angeles. It’s been a real test to see what we’re capable of. PylonCams were among the 56 camera feeds available to the broadcast of the 2022 USFL Championship Game.

24

SPORTS PRODUCTION 2023 YEARBOOK

Inside Fox Sports’ FIFA World Cup remote production operating out of The Vault at its Pico Blvd. facility in LA.

On capturing the right balance between technology and showing the proper level of fan/player emotion during the NFL season: Russo: We’re in the business of storytelling, and it’s important that we tell different stories each week. We’ve had some great shots of plays during the regular season and Super Bowl, but these high-speed cameras really help with grabbing those subtle shots that we can take


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DEEP DIVE

to commercial. Whether it’s going to 100% of the country or smaller sections [of the nation], viewers are seeing these types of pictures all across the board. On using positive momentum and lessons learned from a previous broadcast into the next task on the list: Cheney: We continue to develop as we move through [our schedule]. It’s nice to hit our goals throughout that season since we do so much, but we’re still utilizing these same resources on a regular basis. [For example], one of our teams will do a football game on a Sunday, but then they’ll be back at it again with a college basketball game at Madison Square Garden on a Tuesday. It’s amazing to see the effort and focus that go into these games.

Fox Sports debuted a new studio for the return of Fox NFL Sunday.

Fox Sports kicked off its 2022 college-football schedule with Northwestern vs. Nebraska in Dublin’s Aviva Stadium on Aug. 27, 2022.

On production and operations teams working together to minimize the stress associated with covering Super Bowl LVII in Glendale, AZ: Davies: Everybody rolls up their sleeves [to do their part], but the secret of making what we do work is the relationship [that we have] between production and technology. We have a really cool collaborative environment, and because of that relationship, it turns into a fun time. Everyone has ownership of their corner of the show, but we to try to support each other as much as we can. On the unique partnership between Fox Sports and NBC Sports to launch the inaugural season of the revitalized United States Football League (USFL) in April 2022: Meinking: We work with partners all the time, but in this situation, it was every week for an entire season. We knew our venue, but we had to figure out how to make [these productions] feel bigger by adding technology. We bounced a lot of things off each other, and it was nice to have each other as you launched something like this. On the invaluable impact of the network’s Home Run Production (HRP) model during this stretch of shows: Cheney: Going into [the season], we knew we wanted to use our HRP workflow because there’s a lot of work that goes into producing a doubleheader in a single location. HRPs became really important to us, and it was an engineering feat by both networks to come up with a solution that would transport over 150 signals back and forth between NBC Sports in Stanford and Fox Sports in Los Angeles.

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SPORTS PRODUCTION 2023 YEARBOOK


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DEEP DIVE

M

ore high-speed cameras. Unique audio enhancements. Highend data-filled augmented reality graphics. One-of-a-kind alternate game telecasts. And, of course, ultra high-definition (UHD) and high-dynamic range (HDR). At ESPN, the name of the game is serving the fan and, again in 2022, the broadcaster found ways to make the live game better and better. Ed Placey, VP, production; Kevin Lopes, VP, sports business development & innovation; Carrie Brzezinski-Hsu, VP of ESPN Creative Studio; and Dennis Cleary, Disney Media and Entertainment Distribution’s director, remote facilities reflect on the big accomplishments of 2022. On ESPN’s commitment to innovation in and around the live game broadcast: Brzezinski-Hsu: Our mantra from our group is to take sports from game to entertainment. That becomes our North Star when we choose innovation and technology partners for all things that we do. Our goal is to create and tell stories in a different way. We’ve all told sports stories the same way for so many years, but how do we elevate that storytelling? How do we make it a more immersive experience, especially for those fans that aren’t necessarily core fans? How do we bring that out in the live game? It’s part of the ethos of the Walt Disney Company to really create a cinematic experience. Placey: The word innovation gets thrown around a lot — and it’s a good word — but at ESPN our whole company isn’t responsible for innovation. There’s those of us that keep everybody informed about the technology and innovation that we’ve done in the past and the good lessons and the hard lessons we’ve learned to help make every new step in innovation that much better.

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SPORTS PRODUCTION 2023 YEARBOOK

At the 2022 US Open, ESPN produced matches for the first time in UHD HDR. Here is inside the ESPN control room that was producing the UHD feed from Arthur Ashe Stadium.

On the biggest live game technology advancements in 2022: Cleary: We’ve concentrated a lot on UHD. We have select college basketball games, select college football games. We’re doing, for the first time, Monday Night Football in 1080p HDR. We did the US Open (tennis) in UHD at the main [Arthur] Ashe Stadium and 1080p for all the other courts, which was a huge challenge. Looking ahead to 2023, we’re looking to do our Saturday Prime college basketball games in UHD HDR. Another great accomplishment this year was the development of our own in-house drone team. We have more than five pilots and coordinators who support the entire Walt Disney Company. We have over 20 drones that have flown over 300 hours and supported 65 different events. ESPN worked with the NBA and Canon on a volumetric video version of NBA Courtview for an ESPN+ live stream of a game between the Dallas Mavericks and Brooklyn Nets in March.




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DEEP DIVE

Augmented reality graphics were designed and utilized on numerous events through the year by ESPN, including in its coverage of the 2022 NBA Finals.

Placey: Cameras get talked about a lot and the high-speeds are wonderful. You can’t put enough of them on a game, in my view. But what you’ve seen industry wide is advancement in audio. Not necessarily the technical advancement, but the trust from the leagues. Major League Baseball, allowing us to put microphones on players in game. It’s a wonderful development that isn’t really new technology. It’s a new production approach. The hard work that we do is really earning the trust and we count on our colleagues from our network and from other networks to continue to reinforce that if you trust us, we’ll do good things with the access you allow us. We’re in this together. On ESPN projects that approached the more bleeding edge: Lopes: The euphoria around NFTs has died down a bit but probably the most fun deal I’ve done in the last year was negotiating the first NFT deal for ESPN. We did a partnership with Tom Brady and a company called Autograph and we offered it in the DraftKings Marketplace. Doing something that the company’s never done before was just wildly exciting. Some of the other things my team works on day-to-day are AR, VR, automation, automated close captioning, AI-generated highlights. Basically, anything new, next, and cool, my team gets to work on. Brzezinski-Hsu: We’ve done a lot more work in Unreal Engine and you’ll see it anywhere from the live events in openings for NBA Finals games or in custom animations that we do on Monday Night Football. We’re using Unreal to tell a story and use photorealism to do things in real time. It even blows the minds of our partners at Pixar when we tell them that storylines are starting to reveal themselves before next week’s Monday Night Football game and we’re able to create an animation within those five or six days, be able to render very quickly, and tell a story which really helps us be relevant day of. Ryan Humble, manager, drone operations for Disney, poses with a drone that flew live at the Little League World Series. (Courtesy: ESPN)

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SPORTS PRODUCTION 2023 YEARBOOK



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DEEP DIVE

I

t was a busy year for the team at NBC Sports, beginning with the Super Bowl and Beijing Olympics and continuing through with PGA coverage, Sunday Night Football, and much more. Chip Adams, now a consultant but former NBC Olympics, VP of venue engineering; Craig Bernstein, VP, remote technical ops and engineering; Darryl Jefferson, SVP, engineering and technology; and David Mazza, SVP and CTO, discussed the year’s accomplishments. Before the Tokyo Games were postponed, the plan was to do a dualstream HDR and SDR production. But the one-year delay allowed the NBC Olympics team to create a single stream workflow. But when the decision was made to have the main production gallery for the Beijing Games in Stamford rather than Beijing the team had to pivot once again. Dave Mazza explains: Mazza: Our plan was to ship the equipment from Tokyo to Beijing but when we realized [we would move the primetime control room to Stamford we had to mobilize the troops in the IBC, pull out all the HDR gear, and sent it back to Stamford because with all the supply chain problems we probably weren’t going to order enough stuff to convert Stamford to HDR. So that was a big change we made technologically along the way. Having so many production personnel back home for the Beijing Games impacted venue operations. Chip Adams, who was in Beijing, discussed the challenges: Adams: As the playbook changed, we had to downsize our equipment and operations. We reduced onsite venue operations down to about two venues — figure skating and alpine skiing and extreme sports — and we had production people onsite but no talent. Typically, we would have 2,000 people onsite, but for Beijing we only had 750 people.

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SPORTS PRODUCTION 2023 YEARBOOK

From left to right: Keith Kice, Craig Bernstein, John Roché, and Ken Goss at Super Bowl LVI.

We also had to move our field shop operations into the IBC because the field shop was outside of the [closed loop to protect against COVID]. We didn’t really have space for it and all of a sudden we’re doing our cable allocations in a small room that had network connectivity so we could do a lot of pre-testing with Stamford. But getting the equipment out was a three-day process because the equipment had to go to a holding area and be tested for COVID. The Friends and Family segments connected athletes at the games with friends and family back home live via two-way video conferencing. Darrell Jefferson discusses the effort and why it was so successful: Jefferson: We put a lot of cameras in the living rooms and backyards of the families of the athletes because they were not allowed in the stands. And it gave us a new vantage point and added a layer to the production. Also moving some of the production back home is something we’ve proven is possible so now we need to figure out when it is appropriate. NBC Sports did the impossible when they produced a Super Bowl in the middle of a Winter Olympics. Craig Bernstein discussed the efforts: Bernstein: The biggest challenge of Los Angeles was the scope as we had six locations throughout the city. We had to do a lot of planning work with the transmission and IT teams to connect everything back to SoCal Stadium. There were eight different mobile units connected from outside SoCal and we built an EVS network with 33 servers and 20 virtual IP Directors to give everyone access to share files and move signals. That worked flawlessly.


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DEEP DIVE

Whether it was drones, more HDR, or augmented reality graphics, NBC Sports continued to innovate. Bernstein discussed what lies ahead: Bernstein: It’s a strange time in the industry because there’s so much available to use but at the same time, we face financial challenges. So, it’s a question of how we incorporate all of these new sort of whiz bang things into the shows in a way that doesn’t bust our budget. We sort of have to pick and choose where we’re gonna use drones or AR which is incredible and just gets better and better. But it’s very expensive so we partner with production to prioritize what they really want to do and help them with that vision.

All the networks are weighing how to approach 4K versus 1080p HDR production. Mazza discusses the decision to stick with 1080p HDR: Mazza: Early on we thought the bigger bang for the buck with deployable technology was 1080p HDR. Everybody says, why aren’t we doing native 4K? We don’t obsess on the numbers. At a typical couch viewing room distance, a 65-inch monitor from 12 feet, you can’t distinguish the difference in resolution. But you can see HDR. So, we charted a course to do that. And when 4K won’t cause us to diminish the tool set and water down the ability to tell the story then we’re gonna be doing native 4K.

David Mazza (right) and Errol Foremaster, VP, Engineering Operations, NEP, in Studio 3 in Stamford

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SPORTS PRODUCTION 2023 YEARBOOK


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DEEP DIVEspotlight DIVE

Thursday Night Football: Inside the Kickoff of Amazon Prime Video’s Historic NFL Package

I

n September, the NFL kicked off its first-ever broadcast package carried exclusively on a streaming platform with Amazon Prime’s Video’s Thursday Night Football. Over the ensuing 15 weeks, Prime Video’s TNF coverage proved to be among the most robust and technologically advanced productions in the history of sports broadcasting, including the launch of arguably the most state-of-the-art set of mobile units ever built: Amazon’s Prime One and Prime Two nativeIP fleet from Game Creek Video. Here’s an inside look at it was pulled off on an ultra-tight timeline from Marie Donoghue, VP, global sports video, Amazon; Fred Gaudelli, executive producer, Thursday Night Football; JP Palmer, senior manager, live production technical operations, Prime Video; and Jared Stacy, director, global live sports production, Prime Video.

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SPORTS PRODUCTION 2023 YEARBOOK

On the key production philosophies for Thursday Night Football: Stacy: The most important thing for us from the very start was how we could make Thursday nights special for fans and provide that big-game ritual for fans and families for a long time. That was our north star as we started looking at how we produce the game, how we deliver that game, and who calls that game. And, in terms of the pregame show, we also knew right away that we wanted to take the show on the road every Thursday for 15 cities in 15 weeks. On building the TNF production team behind the scenes: Stacy: We knew [the producer] was one of the first pieces we needed to put in place. And we were lucky enough to bring in Fred Gaudelli. Fred is not only the best person to ever produce NFL football but also a great leader. We started working with him to build this team together. And we will also have


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DEEP DIVEspotlight DIVE Amazon Prime Video landed broadcasting legends Al Michaels (left) and Kirk Herbstreit for its Thursday Night Football booth.

Pierre Moossa, one of the most accomplished directors in the business, sitting next to Fred. Behind the scenes, you can’t do any of this without an incredible operations team, great technical people, and mobile units that can accommodate a show of our size. On the power of Amazon’s new Prime One mobile units: Palmer: From a tool-set standpoint, we are bringing a Super Bowl-level show out every week, and we needed a facility that could support that. We didn’t approach this [thinking about] what [other broadcasters] had done in the past. Instead, we asked, “How can we provide the best customer experience humanly possible?” We started with a clean slate and looked at every single element of the production from that lens. We ended up taking many new approaches with this [mobile unit] so that we could provide our production team with the tools and the core technology to produce the most amazing game possible. On how TNF compares to NBC Sunday Night Football: Gaudelli: I think it will be every bit the production value that I had when I was at Sunday Night Football [on NBC], without a doubt. You’re going to have a telecast that has every technical innovation that football fans love: all the camera angles, all the augmented reality, all the technology that comes with the first-and-10 line, a replay for every camera, expert announcers. It’s going to be as good as, if not better than, any football telecast that [viewers are] used to watching. On the interactive features in Prime Video’s viewing experience: Donoghue: Obviously, we’re an innovation-first company. We approach our broadcast that way, and you’ll see it in the broadcast. The OTT platform provides us a great opportunity to provide not just new ways to engage fans with data,

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SPORTS PRODUCTION 2023 YEARBOOK

highlights, and alternate feeds but also almost infinite choice. A lot of what we’re trying to do is cultivate and program the best experience for the most fans. We’re creating a huge, big-tent experience, and then we’ll provide great optionality for fans. Not everybody wants to watch the game the same way. We’re not choosing one type of fan to serve; we’re trying to serve all fans. On whether to differentiate or follow traditional standards in TNF coverage: Stacy: It goes without saying that the bar for primetime NFL production is really high. So we’re more focused on being ‘great’ than we are about being ‘different.’ That said, there are things that are naturally going to differentiate us. For example, Al [Michaels] and Kirk [Herbstreit] are two legendary broadcasters, but you’ve never heard them work together. We think that is going be unique. We also think the cast of characters we’ve got on the pregame show will be very big differentiator for us. From a technological standpoint, we plan to utilize the OTT platform to provide a totally different experience from [traditional linear broadcasts]. At every stage, we asked ourselves, How can we leverage the OTT platform? How can we offer optionality? How can we expand the fanbase? On the unique layout of the Prime One trucks: Palmer: Our primary goal with [the layout] was to make everyone feel as comfortable as possible. Our productioncontrol room is configured in a way that has never been done before, with things like more headroom, two rows instead of three, and rotating back benches so everyone has line of sight to the monitor wall. Every little detail you could imagine has been taken into account, and, even though it’s a big space, it feels very intimate since you don’t have so many people crammed in. On how TNF looked to appeal to football fans used to watching on TV: Gaudelli: NFL fans have a very definitive expectation when they turn on the television. The best people in sports television work on the NFL. When it comes to primetime, I think [fans’] expectations are heightened: if you don’t come with a real quality show, they’re probably not going to come


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DEEP DIVEspotlight DIVE

back. We’ve seen, “Hey, let’s try this, let’s try that,” over the years, and nothing really stuck. Even on Sunday night, we tried a couple of things, but you have to start out with a highlevel production with terrific announcers, and the audience will come because it’s the National Football League. On creating the graphics package for TNF: Stacy: We worked with NBC Sports Group and drive|studio to build this graphics package from scratch, and we are happy with the way that turned out. I’m especially proud of the scorebug, which I think really pops. We’re also leaning heavily into AR graphics, and that is going to be a big part of the broadcast. We’ve got some great opening title sequences and animations that are going to add a dramatic element to every game. We wanted to think big about every single element of the production because, at the end of the day, you want fans to walk away from Thursday night and say, “Wow! that was a really fun

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SPORTS PRODUCTION 2023 YEARBOOK

Top: Amazon Prime Video took the TNF Tonight pregame show on the road to every game of its inaugural season. Bottom: Game Creek Video rolled out Prime One and Prime Two this season.

night of football.” Obviously, it all starts with the game, but we want the entire experience to feel like something special, and that includes the graphics and [supporting elements]. On how historic the Prime One mobile units are: Palmer: The scale and magnitude of this project is pretty much unprecedented. And we were trying to get it done on a very aggressive timeline as well as dealing with unprecedented supplychain issues. It’s definitely the wildest build I’ve ever been a part of. We were building a plane while it was already in the air, and we were trying to build it for opening week. That couldn’t have been done without the hard work of our team and our amazing partners. On Prime Video’s alternativepresentation streams for TNF games: Stacy: One of the biggest things we want do is grow the game and broaden the tent of who watches it. We are providing alternate streams like TNF With Dude Perfect and lots more to come. While a lot of kids may not want to watch a full game, they’ll watch a game with Dude Perfect just to hang out with those guys for a few hours. That is where we are taking some big swings [in order to] establish who we are and what Thursday Night Football on Prime Video feels like.


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DEEP DIVEspotlight DIVE

On the alternative feeds and X-Ray interactive features available to TNF viewers: Gaudelli: I think the big differences are going to be all the other things you can access while streaming a game [but] can’t access when you’re watching it on television. Whether it’s the alternate feeds, whether it’s the predictive and ability statistics, whether it’s checking out your own replays when you want to see them, that’s where I think you’re going to get the more enriched experience in watching Thursday Night Football on Prime Video. On how shopping is integrated into the TNF viewing experience via X-Ray: Donoghue: Amazon has an amazing trust and relationship with our users. For the first time, we’ll actually be able to utilize first-party data to help make those advertisements even more effective. We’ll follow their lead on how interactive those ads will be and the formats and things like that, but, absolutely, we’ve experienced great excitement from our advertisers about moving the ball forward.

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SPORTS PRODUCTION 2023 YEARBOOK

Top and bottom: TNF’s Prime One and Prime Two mobile units offered a massive footprint with a very unique layout.

On the weekly Thursday Night Kickoff pregame show: Stacy: We knew right away that we wanted to take the show on the road every Thursday for 15 cities in 15 weeks. We want the city to feel like a character of the show. We want to showcase local flavor, local fan culture. We’re looking to get closer to the players, closer to the action, and bring the amazing environment at the stadium home to fans every Thursday night. Once we decided on that, we started looking to hire some analysts for our pregame show that were fresh off the field so they could really connect with the players and the coaches. We’re going have a desk right next to the field and get those great moments of people walking over to be part of the show. On TNF’s effort to produce the highest-quality picture possible: Palmer: Everything [on the capture side] has to be stellar quality because we are delivering that quality all the way to our customers’ end devices using the lowest compression to create the best picture possible. You will be able to see those details — the blades of grass and the lettering on the ball — like never before. Everything had to be pristine. And we are using every possible resource from Amazon to ensure we deliver the best product to fans. We are very fortunate to have the full power of AWS behind us, and we’re excited to see what that will enable us to do in the future.


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GARVIN

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Executive Perspectives

T

he 2022 SVG Summit Future of Remote Production workshop began with a panel discussion featuring leaders in the remote production industry. The goal? To discuss some of the key business challenges and opportunities that are evolving at a rapid pace. Partially driven by the need for innovation but also driven by an explosion in event productions, everything from the shortage of freelancers to inflation to the future of trucks in a cloud-based world were addressed. The panelists were: Mary Ellen Carlyle, SVP and GM, Dome Productions; Bob Carzoli, Chairman of the Board and CEO, ProCrewz; Nick Garvin, COO, Mobile TV Group; Glen Levine, President, NEP U.S. Broadcast Services; and Pat Sullivan, President, Game Creek Video.

Topic One: The state of the remote production business Mary Ellen Carlyle, Dome Productions, SVP and GM: The work has come back like a tidal wave, but resources have not come back. So, we’re into training new people, new engineers, and I always use the analogy that the business is at the top of the mountain. We just got out of the chalet and people are starting to come back up the chairlifts. But there’s a lot of training going on and we have managed to get all our feeds on the air. We also managed COVID, keeping people healthy and safe. Bob Carzoli, ProCrewz, Chairman of the Board and CEO: The business is back and we’re gonna probably be north of 25,000 events this year. And I think the good news is that, for the first time, our metrics are showing that our travel numbers — despite number of events going up — are actually plateauing a little bit. It’s only a month or two, so it’s more of a data point than a trend, but we’ve made huge investments in training platforms as we work with our union partners and clients. Nick Garvin, Mobile TV Group, COO: The business is really healthy, and we added four vice presidents and four trailers including 51Flex, which is all IP and 1080p HDR. And then cloud control has been a continuous development for us as we completed our 25th cloud control room and those are spread out around the

country, doing about five to 10 cloud-controlled events a day now. We also launched a new division called Edge, which is a softwaredefined, lightweight production system for smaller to mid-tier sized events. And then we also continue to build out our private data center and production hub to support those cloud control rooms and any other productions. The supply chain issues have been real. We had a unit that was held up for one part. I mean, there’s however many thousand pieces and parts in a mobile unit, and we were waiting on one thing to launch it, and that hurts. And that’s tough. Glen Levine, NEP U.S. Broadcast Services, President: As much as things changed, everything stayed the same. Everybody is so busy, and our industry is so fortunate that there’s so much work and we can keep going. We did about 3,000 events traditional with trucks and trucks aren’t going away as we launched a number of them last year. But then we also did close to that number in remote workflows with NEP Vista. Pat Sullivan, Game Creek Video, President: It’s been kind of a remarkable transition as we come out of the pandemic simultaneously building multiple trucks. We launched seven mobile

SPORTS PRODUCTION 2023 YEARBOOK

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Executive Perspectives Game Creek Video rolled out its most state-of-the-art truck to date for Amazon Prime Video’s TNF package this season.

Mobile TV Group launched its first active 1080p HDR mobile unit with 51FLEX for Bally Sports.

IP units for our Amazon Thursday Night Football package and, at the same time, our engineering guys invented GCV Anywhere, which allowed our clients to produce their games remotely from their home location. And staffing-wise, we went into the pandemic with 168 people and now we have 277 people working at Game Creek, a lot of whom were added as a result of GCV Anywhere. So, it’s just been an incredible transition over the last two and a half, three years and we’re very excited about the future.

ultimately may not end up being used. And with supply chain issues, which we’ve had, you try and get ahead of that by ordering things in advance really early. Well, it’s hard to order things in advance really early when you don’t know what you’re gonna build. So those are sort of conflicting challenges.

There are plenty of challenges in the business of remote production, not the least of which is how fractured the live production workflows have become. Panelists discussed how the ever-growing number of ways to produce an event is impacting the industry.

Carlyle: We didn’t build any trucks last year but we’re gonna build two next year. Supply chain issues haven’t hurt our business but its postponed it, like the building of Wavelink, a new transmission truck that can do 5G, SRT, low-orbit, and regular satellite.

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Levine: The supply chain issue is definitely something that keeps me up at night. With all the projects that we have on the docket going into next year you don’t know if it’s gonna be a trailer that’s not gonna show up or a part from a trailer or it’s gonna be a component for a switcher. But because of the size of NEP, and the global nature, we do get emails that say, “Hey, I have a bunch of switches hidden under my desk in case you need them.” We’re good at sharing resources and moving gear around, but the challenge is with the delays in any type of facility. We’ve all made commitments to our customers, and we have to deliver, so there always needs to be a plan B.

Garvin: One of our challenges is how fractured the live production workflows are. There’s just a lot of different flavors right now and, as a technology company, that’s expensive because we have to invest in these different production workflows that

Sullivan: With regards to supply chain, we had a big issue with one part that was not available. So, we had to pivot and basically go in a different direction. But that’s the beauty of being fortunate enough to work with really smart people is they have the ability to pivot and make decisions when you’re faced with a big challenge.

Bob Carzoli said there is far more demand for people than there is a supply, creating a major crewing challenge for the industry.

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SPORTS PRODUCTION 2023 YEARBOOK


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Executive Perspectives

PROCREWZA new Content Center at Augusta National gave the compound a first-class look as well as improved workflows.

From left: Dome Productions’ Mary Ellen Carlyle, ProCrewz’s Bob Carzoli, Mobile TV Group’s Nick Garvin, NEP U.S. Broadcast Services’ Glen Levine, Game Creek Video’s Pat Sullivan, and SVG’s Ken Kerschbaumer.

We’ve been fortunate on the trailer side to not run into many problems on that side. Same thing with cameras and our friends at EVS who did a lot of strategic buying in advance and had a lot of their critical parts on the shelf. And if you have a vendor that’s willing to make that kind of commitment then that certainly makes things a lot better. Two of the big concerns in 2022, and still in 2023, revolves around the staffing shortages, primarily freelancers, as well as inflation and its impact on everything from diesel costs to wages and personnel. Carzoli: There is far more demand for people than there is a supply. And so, consequently, we have a number of technicians around the country that want more money. And that becomes a difficult conversation with our clients who have said, “We’ve agreed to pay this. And we said we can’t get anybody at $10 — they want $11 or they want $12. And some of it is supply and demand and leverage and some of it is that the cost of living has gone up, right? And, when you’re working with freelancers, even though we treat them as our employees, we don’t have an employment agreement with an agreed amount of pay and a bonus program. And then technicians have a finite resource, which is their time. And what they have to do is they have to maximize the amount of money they make on every one of those days. And we’ve had some really difficult stories. We had an A1 in LA who called us up the night before a game and said they wanted $100 extra dollars, or they weren’t coming in. We told them no and the next

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SPORTS PRODUCTION 2023 YEARBOOK

morning they called in with a cracked crown and said they couldn’t make the game. In the past, the client would have called me and say never hire that guy again. But the truth of the matter is you don’t have the luxury of being able to say you did something and now I’m not gonna use you anymore as punishment because there’s a line of people around the block that want do your job. Because now you look around the block and there’s nobody standing outside. They’re all gone. Inflation has also impacted the business, especially as production service providers try to figure out how contracts written in preinflationary days may need to be re-worked in order to make business sustainable. Carlyle: In Canada, we have the same issues of supply and demand as people left the industry. This year we actually ate all our increased crew costs as we understand those were the client budgets. But we have to have those discussions going forward because we won’t be able to survive if we have to keep paying for that. The other thing is drivers. There’s been a shortage of drivers out there, increasing their rate because they want to stay home. And then of course the fuel costs have gone up as well. What we pass on to our clients is extremely limited, but I think what we ask for in exchange is longevity of a contract or an agreement. In exchange for a particular rate that you’re gonna get locked in at there is a ceiling on an annual raise or inflation. If we get longevity, we can live with that.


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Executive Perspectives

Levine: I think there needs to be a little bit of a balance and it has been a challenge with our field staff drivers. [Those of us on stage here] have been on conference calls trying to share drivers because there just aren’t enough to move the facilities around. But I think, as far as the cost going up, you know, the cost of money has changed. The long-term deals are great but we’re in the middle. The vendors prices are going up and the clients don’t want to pay more, but the shows are growing. So, we’re trying to achieve some type of balance. And they’re difficult discussions but I think for all of us as vendors to be sustainable and to be around in the next five years we want to make this work.

Sullivan: Inflation was really a double-edged sword for us. The first edge of the sword was our people and we had just gone through a period where we revisited the pay scale for the folks at work at Game Creek and we made big adjustments for a lot of people. And then the next thing you know, it’s January and there’s more inflation and it was discouraging because we thought on one hand, we were really being proactive and working with our folks to help them. And then the second edge of the sword is the cost of diesel fuel and even though the price of gasoline has come down the price of diesel has not. And if you’re a national company like Game Creek, that is a significant hit to the bottom line.

Topic Two: The evolution of workflows and the relationship with traditional hardware manufacturers. Garvin: I think we’re a bit of a confused industry right now. I think the ability to have remote control surfaces wherever you want those, in any flavor, are here to stay because those components are the least expensive. And I think the cameras will be at the events for the foreseeable future. The compute power is really what is in question. Do you buy your own gear and put it in a centralized facility? Do you use a public cloud? Do you use a private cloud? Computers are getting so powerful now that with our Edge division our philosophy is the compute power needed for smaller productions should just be onsite because it’s so inexpensive. But a dominant design needs to take place for the industry. When you look at any industry and any sort of workflow the dominant design actually eases things for everyone.

Levine: I think we’re going to continue to buy 10 of product X and

10 of product Y from the manufacturers. I don’t think that’s going away and it will become about whether certain things are going to move to the cloud or a rack room or a data center. That is the model that we’ve created and that’s where it becomes a utilization game. How often can you use that gear and share it between shows? Garvin: It’s important for us to recommend a bridge to our manufacturers and vendors to get from this old legacy way of doing business of selling one software and one hardware unit per user. A hybrid I wish more manufacturers took is we’ll buy a hundred hardware units, but we also only buy 10 software units. We might only need to use 10 software units at any given moment. And I think that’s sort of a nice bridge to whatever chapter is next. Instead of us just buying software and utilizing general purpose compute power let’s just buy less software but we’ll still give you all the hardware business.

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CLASS OF 2022

T

he 15th-annual Sports Broadcasting Hall of Fame Ceremony brought the industry together at the New York Hilton Midtown Hotel on December 13, 2022, to induct nine legends who have made an indelible mark on the sports-TV and -media industry. Hosted by Mike Tirico, this year’s event once again donated all table sales to the Sports Broadcasting Fund, which supports industry members in times of need. This year’s class comprises NBC Olympics technology guru Terry Adams, Fox Sports studio luminary Terry Bradshaw, iconic play-by-play voice Joe Buck, industry-leading NBC Sports director Drew Esocoff, NFL Commissioner Roger Goodell, former HBO Sports President and documentary maestro Ross Greenburg, Olympic Games host-broadcast pioneer Manolo Romero, trailblazing camera operator and innovator Deena Sheldon, and broadcast-architecture maven Darrell Wenhardt. SPORTS PRODUCTION 2023 YEARBOOK

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2022 Sports Broadcasting Hall of Fame 96

TERRY ADAMS T

here is no sports production on the planet larger than an Olympic Games, and no broadcaster does as much as NBC Olympics in terms of content creation and innovation. Since the 2000 Sydney Summer Games, Terry Adams, retired VP, IBC engineering, NBC Olympics, was at the center of the effort, overseeing the technological infrastructure of NBC’s footprint at the International Broadcast Center. It was a run that saw multiple changes in technology and workflows and a massive expansion of programming. According to David Mazza, SVP/CTO, NBC Sports and NBC Olympics, in more than 25 years as engineer-in-charge (EIC) in mobile units, Adams worked on some of the biggest sports and entertainment shows and had a knack for executing big shows flawlessly. “He also had a great eye for both picture and sound quality and never compromised either,” Mazza added. “He could get along with almost any client and remained calm no matter how big the show or how big the challenge.” From the very beginning of his time at NBC Olympics, Adams was involved with driving innovation. The 2000 Sydney Olympics featured a technological advance that transformed the Olympics technical setup: the “Rack in a Box,” or RIBS, which then-director, technology, Matthew Adams (no relation) conceived after communicating with some Department of Defense logistics folks. “The whole issue with the Olympics is scale,” said Terry Adams. “When you deal with manufacturers, they can have a product working on the bench with, say, 20 nodes on it. Then you tell them you need 250 nodes, and the whole thing collapses. The demands of an Olympics are just massive scale.” Growing up in Cleveland Heights, Adams fit the classic youngengineer profile: he enjoyed taking things apart to see how they work. And the AV club in junior high and high school sparked his interest in TV. But it wasn’t until he got to Ohio University and began working at WOUB Athens, the PBS station affiliated with Ohio University, that he had a sense of a career path. Doing everything led to a skill set that allowed him to interview for a full-time position at Television Production Center (TPC) in Pittsburgh. TPC’s acquisition by Unitel gave Adams a chance to take the next step in development. In 1996, Adams got his first taste of Olympic operations, working on the host-broadcast production of the Atlanta Games, for which Unitel provided facilities. In 1998, Adams joined the NBC Sports family and settled into a role with NBC Olympics ahead of the 2000 Sydney Games. Mike Sheehan, coordinating director, NBC Olympics, said he had the pleasure of working with Terry as a truck EIC prior to their working together at NBC Olympics. “He was magical,” said Sheehan. “What every remote-production person looks for is a smart, engaged truck technical leader who can see what the production people are trying to accomplish and help the team do what is best for the show. Terry was a great truck EIC in his early years, and he was a great partner at NBC.” Moving to NBC allowed Adams to experience having the momentum of a huge broadcaster behind him when working on arguably the biggest sports event in the world. It was especially helpful when it came to discussions with manufacturers, who saw the opportunities and challenges of meeting a literal Olympic-size challenge. And being at NBC placed him at the center of major transitions in broadcast engineering and technology. In 2005, Adams led the transition to HD, which was made in two steps during the 2006 Torino Games and the 2008 Beijing

SPORTS PRODUCTION 2023 YEARBOOK

Games. With 2016 Rio and 2018 PyeongChang, NBC started experimenting with 4K HDR, and he oversaw the conversion to enable the NBC IBC to simultaneously handle 4K HDR, 1080p HDR, and 1080i SDR, in both 50 Hz and 60 Hz. At the same time, the IBC was converted to an IP infrastructure, a monumental task in itself — and both these transitions were made in the middle of the pandemic. The biggest challenge of his career, Adams said, was the move to HD. “All the bandwidth went up, and the picture shape changed, which had such an impact on the production folks. Everything was new, and we weren’t even sure all the gear was going to work together.” The move to IP was his next major challenge, and it involved a lot of backup plans and incorporating the IT pros with the broadcast veterans. Lots of learning going on. Working on an Olympics broadcast has historically been one of the best ways to see the world in a meaningful way. The stress is high, but a months-long effort offers a unique opportunity to see how the rest of the world works and lives. As for the evolution of technology, Adams considers the solidstate camera, with CCD-based imagers instead of tubes, was the leap that made the biggest difference. “Before that,” he explained, “we would spend a lot of time aligning the tubes and testing the camera. And, if you dropped it on the ground, you had to start all over again.” Adams’s influence extends beyond sports. He was instrumental in getting the low-light-level Live From Lincoln Center and Live From the Met series on the air, with some of the most magnificent images on TV at that time. He also designed and supervised construction of mobile units and oversaw the transitions from tubebased to solid-state cameras and from analog composite NTSC tape recordings to digital component HDTV files. Mazza said a calm, pragmatic way of solving problems allowed Adams to have such a long and successful career with the Olympics unit. “In such a highly charged environment,” Mazza said, “with all the pressure that builds up on the two-year planning cycle, it can be overwhelming. But TA always handled it with ease and gave those around him a great sense of confidence.” – Ken Kerschbaumer



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2022 Sports Broadcasting Hall of Fame 100

TERRY BRADSHAW T

o make it into the National Football League, especially at quarterback, you need tenacity, poise, fortitude, and leadership. Terry Bradshaw — for 14 years, the talisman of the Pittsburgh Steelers who lifted four Lombardi trophies and has been enshrined in both the College Football Hall of Fame and the Pro Football Hall of Fame — made his mark in the league and, in a style uniquely his, brought his swagger and humor to sports broadcasting. Throughout his life, Bradshaw has been able to turn the impossible into reality. In 1972, his third full season as a professional and second as a starter, the legendary passer served up the franchise’s first finish above .500 in nine years, the club’s first-ever season with double-digit wins, and the third-ever appearance in the postseason. Prior to hanging up his helmet in July 1984, he made the Steelers an undoubted dynasty in the 1970s, with back-to-back Super Bowl wins in 1975 and 1976 (the latter including a game-winning, 64-yard touchdown pass labeled the Greatest Throw of All Time) and again in 1979 and 1980. He was NFL MVP in 1978, selected for three Pro Bowls, and included on the NFL’s All-Decade Team. Nowadays, it is common for high-profile stars to join the commentary ranks, but Bradshaw was one of the forerunners of this career transition. CBS Sports was his first home; he was guest commentator during the 1980-82 postseasons near the end of his playing days and spent six seasons 1984-90 as a game analyst alongside Sports Broadcasting Hall of Famer Verne Lundquist. Bradshaw moved from the booth to the studio, serving as an analyst on The NFL Today with Greg Gumbel until 1993. The following year, Sports Broadcasting Hall of Famer and legendary Fox Sports executive David Hill happened to sit down to watch the Dallas Cowboys–San Francisco 49ers NFC Championship Game on Jan. 23, 1994. Having tuned in a bit early, he caught the pregame show and saw a man he hadn’t noticed before. “I knew Greg Gumbel but not the guy sitting next to him,” said Hill. “He stood up from the desk and walked across the studio to a screen to diagram a play, but it wasn’t really a walk or a strut. It was a confident stride of someone who was totally at home in front of the camera.” With the start of the young sports division’s TV deal with the NFL less than seven months away, Hill needed to assemble a studio team that would engage his new audience. On that NFC Championship morning, he was very impressed with what he saw, and it ultimately changed the trajectory of what was to become the juggernaut that is Fox NFL Sunday. “I knew exactly what I wanted for the Fox Sports pregame show,” said Hill. “To find out he was Terry Bradshaw was a bit of a shock, but he was the perfect television personality because, with him, you always expected the unexpected.” With Bradshaw at the foundation as the show’s offense-minded voice, Hill and his colleagues filled out the table with Howie Long for defensive expertise, Jimmy Johnson for the perspective of a head coach, and Sports Broadcasting Hall of Famer James Brown as traffic cop. After the show’s debut on Aug. 12, 1994, the core four began leaving their mark on what has become the template for a successful pregame show. In his own right, Bradshaw has created the mold for a studio analyst: provide insider information of what’s seen on the field but do it with a combination of panache and humor. “To say that Terry Bradshaw is one-of-a-kind would be an

SPORTS PRODUCTION 2023 YEARBOOK

understatement,” said Curt Menefee, co-host, Fox NFL Sunday. “TB was the first to bring his personality to the table and, at the same time, lay it all on the table.” Aside from being the de facto face of the broadcaster’s NFL property on the pregame side, Bradshaw can be seen as a figure who summarizes the ethos of Fox Sports: taking your job seriously but not too seriously to enjoy yourself and the people around you. It’s another reason he has been tasked with highlighting other projects and properties of the company, including the debut broadcast of NASCAR on FOX before the 2001 Daytona 500 and serving as a major face of Fox Sports’ sports-betting efforts. In the 29 years since its debut, Fox NFL Sunday has won four Emmy Awards and is a perennial mainstay in the lives of NFL fans on Sunday mornings. For his work on the program, Bradshaw has won the Emmy Award for Outstanding Sports Personality/Analyst three times and has anchored a changing cast of personalities. “The past 29 years and counting with Terry have been the ride of a lifetime professionally,” said Long. “Back in 1994, an unlikely friendship began, and I haven’t stopped laughing since. He has redefined what the pregame show looks like, and, while many have tried to duplicate his genius, nobody has ever done it better.” Mostly known for playful antics and loud voice, Bradshaw has metamorphosed into a well-known individual who is more than willing to speak about his daily struggles and the side effects of living life as a former NFL player. Despite the hardships and troubles that life can throw at a person, at 74 years old, Bradshaw is still serving up one-liners like bullet passes over the middle and spreading joy to the sports world one Sunday at a time. “We have a saying here that ‘Fox Is Family,’ and Terry is at the very heart and soul of that mantra — a personification of everything this company represents,” said Eric Shanks, CEO/executive producer, Fox Sports. “We are so fortunate to have him because not only is he a beloved, generational talent but he’s an even better person, the type who makes you want to come into work every single Sunday for the almost three decades he has been a part of Fox Sports.” – Kristian Hernández



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2022 Sports Broadcasting Hall of Fame 104

JOE BUCK W

hat makes a play-by-play man generational? Is it longevity? Joe Buck checks that box: a fixture in broadcasting since 1989, when he first called baseball games for the Louisville Redbirds, a minor-league affiliate of the St. Louis Cardinals. Is it having a special collection of all the right tools? Again, check. “His voice was butterscotch,” recalled Sports Broadcasting Hall of Famer David Hill, former president of Fox Sports. “Magnificent timbre, mellow but magisterial, good breath control, and his use of the pause was masterly.” Is some part of it luck? Being in the right place at the right time for some of the most memorable moments in modern sports: Mark McGwire’s 62nd home run. The David Tyree Catch in Super Bowl XLII. The final out of the Boston Red Sox World Series Championship in 2004 and the Chicago Cubs’ in 2016. The Minneapolis Miracle. “In my opinion, he’s the Curt Gowdy of this generation — doing it all from the Super Bowl, World Series, and U.S. Open to bass fishing, horse racing and everything in between,” said longtime Fox Sports producer Pete Macheska. “His voice is synonymous with some of the biggest moments and brightest spotlights, entertaining without ever getting in the way of the story unfolding on our screens. An industry-defining broadcaster and exceptional person. There aren’t many like Joe Buck.” Or is it something more? Maybe what makes a play-by-play man generational is being just the right voice to meet the moment, however wild or unpredictable those moments may be. “Joe is an amazing talent and one of the greatest play-by-play guys in sports television,” said Rich Russo, a veteran director at Fox Sports who was at the front bench for many of Buck’s NFL broadcasts. “When you turned on a game on Fox and heard his voice, you just knew it was a huge game and a big event. Joe has had some of the most iconic calls in the history of sports television. He has an incredible ability to know and understand the moment and when to make a call and when to just lay out and let the pictures speak for themselves.” Buck got the call-up to the big leagues in 1991, joining his father, Sports Broadcasting Hall of Famer Jack Buck, in the radio and television booths for the Cardinals. But it was when Fox Sports launched in 1994 that he got his big break. Hill and Sports Broadcasting Hall of Famer and former Fox Sports Vice Chairman Ed Goren had already secured their squad, bringing in a team of Hall of Famers, the legendary Pat Summerall and John Madden, to lead its first foray into football. They had even signed another iconic veteran of the business, Dick Stockton. Now they wanted that younger voice, someone who would take the brand into the next generation. “[When we were starting Fox Sports,] I wanted young, fresh voices,” said Hill. “I knew of Jack Buck by repute, and I’m a great believer in bloodlines. Even though Secretariat sired winners like Rising Star and Lady’s Secret, none of his progeny came close to emulating his remarkable career. So it was with some trepidation that I [watched Joe’s] tape. Boom. This kid knew his stuff.” At just 25 years old, Buck became the youngest man to ever call a regular slate of NFL games, and both Fox Sports’ legacy and Buck’s career were headed to the moon. In 1996, Fox Sports landed the rights to Major League Baseball, and Buck became the lead voice on the package, following in his father’s footsteps and calling baseball. Joe Buck and baseball became similarly linked. Over the next quarter century, his voice

SPORTS PRODUCTION 2023 YEARBOOK

accompanied every marquee moment for the sports, including 22 MLB All-Star Games and 24 World Series. He was the youngest person ever to call a World Series game for a broadcast network. And there was Mark McGwire’s 62nd homerun in 1998. The Yankees dynasty of the late ’90s. The breaking of the Curse of the Bambino in 2004. The first championships for two long-suffering fanbases in Chicago. Even an unforgettable throwback to his father in the 2011 World Series: when David Freese’s walk-off home run sailed out of Busch Stadium to win Game 6, Joe summoned the words bellowed by his father when Kirby Puckett won Game 6 of the 1991 World Series with a home run: “We’ll see you tomorrow night!” In 2002, he doubled up his duties and became the lead voice of the NFL on Fox, partnered from the get-go with Super Bowlwinning former Dallas Cowboys quarterback Troy Aikman. For more than two decades, the pair has called 280+ regular-season games, 40 playoff games, 18 NFC Championship Games, and six Super Bowls. “Joe does every aspect of the job while never missing a moment,” said Aikman, “always having a keen sense of timing and elevating every meaningful situation. Simply, he is the best I’ve ever seen.” Buck has become a regular guest in the homes of Americans, taking them through the biggest nights of their falls and winters — at times under-appreciated, at others just the voice you wanted calling a play destined for the history books. Through it all, he has won the Sports Emmy for Best Play-by-Play a record-tying eight times. Buck is currently in his 29th season calling NFL games, which has been marked by a monumental shift to ESPN and the iconic Monday Night Football brand. He made the move with Aikman. “Joe is one of my closest friends, a relationship that extends well beyond the broadcast booth,” said Aikman. “To have a trusted friend alongside me, calling some of the most meaningful and significant games in sports history, is an element I cherish. But just has important to me are all the great times we have with one another and our families away from the camera.” – Brandon Costa



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2022 Sports Broadcasting Hall of Fame 108

DREW ESOCOFF “I

just don’t think they can do it, Dan.” Those were the now infamous last words that NBC Olympics analyst Rowdy Gaines uttered into his headset to his on-air partner Dan Hicks as Frenchman Alain Bernard entered the pool to anchor the men’s 4x100m Freestyle Relay at the 2008 Summer Olympics in Beijing. A gold medal and a world record seemed all but secured for the dominant French squad when American Jason Lezak dove in seconds later and embarked on what some have called the greatest swimming relay leg of all-time and what is, easily, one of the preeminent U.S. sports-television moments of this century. Viewers may not have known it, but they had just the man for the moment on their side. The Monday-morning race in China had placed the moment squarely into Sunday-night primetime. Just the night of the week you’d expect the very best from director Drew Esocoff. “Drew has the one trait every great director embodies: he’s always where he should be, when he’s supposed to be there,” said Fred Gaudelli, a 2020-21 Sports Broadcasting Hall of Fame inductee and Esocoff’s longtime NFL producing partner on both Monday Night Football on ABC and NBC Sunday Night Football. “His shots are always the right shots editorially. He’s not off looking for the most cinematic shot; he’s serving the sports fan and giving them what they need to process what has happened.” A winner of 19 Emmy Awards, Esocoff’s career has included calling the shots on seven Super Bowls, multiple NBA Finals, years of Triple Crown horse races (including Triple Crown winners in 2015 and 2018), and, in what is perhaps his calling card, 23 years (and counting) of directing primetime NFL, including the past 17 on NBC Sunday Night Football. “Drew Esocoff should go down in the annals of broadcasting history as the best sports-television director ever,” said Al Michaels, veteran play-by-play man and 2013 Sports Broadcasting Hall of Famer, who worked with Esocoff for many years on both Monday Night Football and, of course, Sunday Night Football. “If he doesn’t, it’s simply because he never tooted his own horn. All he did was go to work 1,000% prepared, bring his artistry to the table every single time, and gain the love and respect of every person he collaborated with.” Sports television muscled its way into Drew Esocoff’s life rather aggressively when he was young. After graduating from Colgate University in 1979 with a degree in political science, he landed a job on Wall Street. He was miserable. It took only nine months to pull the plug and dramatically change the direction of his life. He retreated to his hometown of Elizabeth, NJ, to work at a radio station and even took a parttime job at Sports Phone. He also worked weekends as a runner and researcher on college football for ABC. It was in 1983 when he finally got his first fulltime opportunity in the industry, working on studio shows for ESPN. Taking advantage of available opportunities, he rapidly rose through the ranks and directed episodes of SportsCenter and Baseball Tonight until 1985, when he moved to the live-remote-events division. He was soon directing everything at ESPN — college football, college hoops, even hockey — before receiving the call to move over to ABC Sports. At ABC, Esocoff built a reputation for himself as an elite storyteller, an outstanding selector of camera angles, and a humble, easy-going guy to work with. In 2001, at Monday Night Football, Esocoff joined forces with producer Fred Gaudelli to form what would become one of the great producer-director tandems in sports-television history. The two sat at the front bench together for

SPORTS PRODUCTION 2023 YEARBOOK

22 straight years of primetime NFL telecasts, six at ABC on Monday Night Football before migrating to NBC Sports together in 2006 to launch NBC Sunday Night Football. “Drew is an incredibly important part of what has made Sunday Night Football such a dominant success story,” said Mark Lazarus, chairman, NBCUniversal Television and Streaming. “His ability as a director and leader has enhanced many NBC Sports events. He is a positive influence on our culture and in sharing his experience to teach others. He also happens to be a Hall of Fame person. It’s a privilege to be his colleague and his friend.” During Esocoff’s time at Sunday Night Football, the show became one of the most successful properties in sports-media history. It has reigned as primetime TV’s No. 1 show in all key metrics for 11 consecutive years. It has also won the Sports Emmy Award for Outstanding Live Sports Series a record 11 times. “There simply is nobody better,” said NBC Sunday Night Football analyst Cris Collinsworth. “Often, when I plan to talk about someone, that person is on the screen before I utter their name. It is amazing. When big moments happen and it is up to Drew to paint the picture with multiple shots, I have learned the best thing that I can say is nothing. We just let Drew do his thing.” Esocoff has met the moment every single time, not just for NBC but for the American sports-viewing public. And he has done it all while remaining one of the more beloved behind-the-scenes figures in the business. “Before I met Drew, I knew his reputation as one of the best directors in television sports,” said Michele Tafoya, the sideline reporter on NBC Sunday Night Football from 2011 to ’21, “but what surprised me when I started working with him was how humble, fun-loving, and unselfish he is. Everyone loves working with Drew because he is collaborative, respectful, and funny.” “It is an honor to be on the same team as Drew Esocoff,” said NBC Sports Chairman Pete Bevacqua. “He is one of the most talented people in our industry, and he is the rare person who can combine endless passion with an amazing and unflinching sense of calm, which sets the tone for all of those that are fortunate enough to work beside him.” – Brandon Costa


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2022 Sports Broadcasting Hall of Fame 112

ROGER GOODELL A

t a time when Americans find it hard to agree on anything, they agree on this: they love football. Man or woman, from the worker on the assembly line to the IT nerd to the big boss in the corner office to the immigrant selling hot dogs from a cart, the glue is the NFL. The even more common bond is TV. It is literally where the action is. Roger Goodell, commissioner of the league since 2006, knows that. So do the broadcast and cable networks and, now, the streaming outlets. “It’s how we reach the vast majority of our fans,” Goodell told the Los Angeles Times as he toured the brand-new NFL Studio in Los Angeles last year. “We always have to set that bar higher, to give our fans a better experience, to give them greater access, to give them higher quality, to give them something unique.” Like a good quarterback, Goodell seems to have the right touch and a lot of good mentors and, over the past few years, has added some impressive accomplishments to his own NFL highlights reel. In 2021, Goodell and the NFL made history by inking jaw-dropping contracts with broadcast partners ESPN, NBC, CBS, Fox, and Amazon Prime that will give the league $110 billion in rights fees through 2033. NFL games will also be streamed over the networks’ owned streaming sites. Amazon Prime now streams Thursday Night Football, averaging 11.8 million fans over its first eight weeks. After the first game in its 11-year deal, Jay Marine, VP/global head of sports, Prime Video, announced, “Our first exclusive TNF broadcast delivered the most-watched night of primetime in the U.S. in the history of Prime Video. During our TNF broadcast, we also saw the biggest three hours for U.S. Prime signups in the history of Amazon.” Jeff Blackburn, SVP, Global Media & Entertainment, Amazon said that bringing the NFL to Amazon Prime for Thursday Night Football was a forward-thinking, long-term investment that would not have been possible without Roger Goodell’s partnership and leadership. “He had a strong vision for the opportunities of the rapidlygrowing streaming market — and we’re thrilled with the results so far and excited about the future together,” he added. The league’s own NFL+ streaming service adds more content. And all the big streaming companies are angling to get rights to NFL Sunday Ticket when the well-established DirecTV exclusive ends after this season. The year before the new TV contracts were finalized, Goodell and the NFLPA signed a 10-year labor pact that increased the length of the season by one game, expanded the playoffs to include 14 teams, and created the ability for the league to play more games internationally. The negotiations concluded just days before the nation essentially shut down because of the COVID pandemic, and Goodell and the NFL convened a new negotiation with players and dealt with the crisis rapidly. “What’s amazing is that, under Roger Goodell, the NFL was able to play the entire 2020 season from start to finish without missing a game. That’s just a remarkable accomplishment,” said Sports Broadcasting Hall of Famer and NFL VP Howard Katz, who constructs the NFL’s intricate media-centric schedule, another Goodell initiative. Goodell joined the NFL in 1982 as an intern and, except for a oneyear detour to the New York Jets in ’83, has been with the league ever since, with increasing responsibility. By 1987, he had become the assistant to Lamar Hunt, then-president of the American

SPORTS PRODUCTION 2023 YEARBOOK

Football Conference under NFL Commissioner Pete Rozelle. “I would call Roger from time to time requesting information and his insight on the league’s direction,” said Sports Broadcasting Hall of Famer and former CBS Sports President Neal Pilson. “He was always candid and helpful, but you could never pry any of the league’s secrets from him. It was apparent that Pete and, later, [Hall of Famer and Commissioner] Paul Tagliabue had enormous confidence in Roger, and his stature within the league and with the owners continued to grow.” Goodell went on to become chief operating officer under Tagliabue and helped guide creation of the league’s instant-replay system. He played a lead role in creation of the groundbreaking NFL Network in 2003. “The first thing that hit me when I started working with the NFL in 1994 was that it was unlike any sporting body I had worked with anywhere else in the world. They were all bloody smart!” said Sports Broadcasting Hall of Famer David Hill, who was president of Fox Sports when the broadcaster surprisingly grabbed the NFL rights from CBS. “And there was Roger Goodell,” Hill continued, “who always carried himself with an air of authority. In conversations, he never said much, but what he did say inevitably got to the heart of the matter.” A shrewd businessman, Goodell is sometimes perceived by fans as cold and unapproachable. He considers that just part of the business and plays it for all it’s worth. Goodell has been able to turn the jeers into a kind of signature and, in the process, has become something of an Everyman, at least to some fans. The Draft Day event is another example of how Goodell’s NFL has, sometimes subtly, expanded its influence. Under Goodell, the NFL Draft is now a three-day event that has become a city-wide festival in host cities. For the Las Vegas edition this year, the league and city reported that 300,000 people joined in on the hoopla on the Strip and as many as 55 million watched at home. Goodell, in large part because of his handling of media rights, is responsible for that. “He puts a lot of Hollywood executives to shame,” Hill said, and he does that despite “having 32 bosses he has to satisfy.” – PJ Bednarski


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2022 Sports Broadcasting Hall of Fame 116

ROSS GREENBURG T

he iconic HBO Sports brand is built on superior storytelling. With compelling historical documentaries, groundbreaking behind-the-scenes docuseries, first-rate broadcast journalism, and the biggest fights in boxing, HBO Sports — echoing the network’s slogan — has made a name for itself based on one philosophy: “It’s not sports. It’s HBO Sports.” And perhaps no one has played a larger role in creating that culture of excellence than Ross Greenburg. Sports Broadcasting Hall of Famer and on-air talent Bob Costas summed it up: “The depth and quality of the programming Ross Greenburg created and oversaw at HBO Sports remains the gold standard.” During a 33-year career at HBO, Greenburg redefined and reinvigorated the genre of sports documentaries, while also maintaining HBO Sports’ status as boxing’s preeminent destination for high-profile fights. During his time at HBO Sports — where he served as VP and executive producer (1985-90), SVP and EP (1990-2000), and president (2000-11) — he helped create HBO’s sprawling library of unforgettable sports documentaries, the trailblazing NFL Hard Knocks and the 24/7 all-access docuseries, hard-hitting broadcastjournalism shows like Real Sports With Bryant Gumbel and On the Record With Bob Costas, and beloved feature films 61 and Miracle (released on HBO and in theaters, respectively). Since departing HBO in 2011, he has continued to solidify that storytelling legacy through the production of dozens of award-winning sports documentaries at his production company, Ross Greenburg Productions (RGP). Among his 100 major television-sports honors, Greenburg has earned eight Peabodys, 56 Sports Emmys, one Primetime Emmy, 21 Cable ACE awards, 12 Cine Golden Eagle awards, and five Video Tape Production Association Monitor awards. “I always respected Ross’s judgment, the team approach he fostered throughout our department, and the empathy he had for his entire staff,” said former HBO Sports SVP/Executive Producer Rick Bernstein, who worked alongside Greenburg for more than 30 years. “I don’t believe there has ever been a department at HBO that was as close and collaborative as the men and women at HBO Sports, which is reflective of Ross, one of the most genuine and innovative executives in sports television.” Greenburg’s start in the business came courtesy of childhood friend and classmate Kyle Gifford, son of former NFL star and Sports Broadcasting Hall of Famer Frank Gifford. After Kyle and Ross graduated from high school, the ABC announcer got them gigs as production assistants at the 1974 U.S. Open at Winged Foot Golf Club. Graduating from Brown University with a degree in political science in 1977, Greenburg became a full-time freelancer for ABC Sports. In the early ’80s, HBO’s reach across U.S. households was growing rapidly, and head of programming (and eventual CEO) Michael Fuchs emphasized boosting the network’s sports programming. Although HBO carried plenty of marquee fights in the 1970s, the growth of cable in the ’80s made HBO World Championship Boxing the sport’s home for three decades. In 1985, Greenburg became VP/executive producer and, five years later, was elevated to SVP/EP. Although HBO Sports had dabbled in documentaries for years, its efforts hit a new level in 1990 with the launch of When It Was a Game. For the three-part series on the history of baseball, Greenburg worked closely with director George Roy and producer Dave Harmon to develop what has become the signature style of HBO documentaries. “Ross Greenburg popularized sports documentaries and reshaped an entire genre with his unique approach and vision,” said NBA Commissioner Adam Silver. “He’s a master storyteller and one of the industry’s most influential producers.” In the mid ’90s, Greenburg and his team began toying with the

SPORTS PRODUCTION 2023 YEARBOOK

idea of a “hard news” program dedicated to sports. He assembled a murder’s row of talent that could take sports broadcast journalism to the next echelon, and thus Real Sports With Bryant Gumbel was born. “Ross is a superb teacher who welcomed a collaborative approach in shaping a story, sharpening journalistic skills, insight, and presentation,” said James Brown, Sports Broadcasting Hall of Famer whom Greenburg hired for HBO World Championship Boxing before adding him to the Real Sports roster. “He was effective because he is, himself, a journalist at heart.” “I have been at HBO Sports for more than 25 years, and it has been the finest work experience of my life,” said Mary Carillo, another Sports Broadcasting Hall of Famer whom Greenburg initially tapped for HBO’s Wimbledon coverage. “Ross’s sense of story, his understanding of the athletic heart, and his commitment to inclusion are only some of the reasons he’s a Hall of Famer, but they’re certainly my favorite reasons.” In 2000, Greenburg was named president of HBO Sports, and one of his first major programming moves proved to be one of the most important in the network’s history. With HBO’s documentary factory churning out gold, he set his sights on bringing that same elite storytelling to the burgeoning genre of reality TV. Premiering in 2001 with the Baltimore Ravens, Hard Knocks created a genre that is now omnipresent across the sports-programming spectrum, although few programs have matched the quality of the standard bearer. By 2010, HBO Sports was hitting its stride in original programming, but Greenburg said the never-ending grind of negotiating with boxing promoters for the next big fight was starting to wear on him, and he knew it was time to move on. Far from ready to ride off into the sunset, he launched Ross Greenburg Productions with the aim of bringing the level of documentary and reality programming he had pioneered at HBO Sports to others in the industry. “For more than 40 years, Ross has proved his abilities from both a creative and a management standpoint,” said Sports Broadcasting Hall of Famer and CBS Sports Chairman Sean McManus, who started out alongside Greenburg as a PA for ABC Sports in the ’70s and remains a close friend. “The high quality of his work has been clearly evident, and his impact on the industry is enormous. His legacy will be pure excellence both personally and professionally.” – Jason Dachman


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2022 Sports Broadcasting Hall of Fame 120

MANOLO ROMERO T

here aren’t many sports-production professionals or engineers who are known in nearly every corner of the globe. And there are even fewer who are known by their first name. But, for the tens of thousands of broadcast professionals who have worked on the Olympic Games in recent decades, there is only one Manolo: Manolo Romero, who was CEO or general director for the host operations on 10 Olympic Games, beginning in 1992. And, as each Olympics production grew in technical complexity, helping popularize formats like HDTV or stereo (or even color TV) on a global scale, Romero played a part in turning promise into reality. “Manolo had to all but invent the host-broadcast concept in 1982 for World Cup and for ABC in Los Angeles and then, in reality, in 1992 in Barcelona,” said David Mazza, SVP/ CTO, NBC Sports and Olympics and Sports Broadcasting Hall of Famer. “He is the driving force behind modern Olympic coverage.” Romero, who passed away in 2022, boasted a career defined by working with the likes of Mazza and others to make sure the host-broadcast feed meets the needs of a global sportsdistribution and -production community that sometimes has very different capabilities but always has a wide range of budgets. Olympic Broadcasting Services (OBS) was able to sit in the middle and create a rising tide that lifted the quality of Olympics coverage for sports fans everywhere. His career began in 1965 when he landed a job in the engineering department of Spanish TV network TVE. While there, he was appointed chair of an EBU working group focused on how to exchange TV programs internationally via satellite, a role that would lay the foundation for a future in which he would work with dozens of broadcasters on the world’s biggest sports event. “I was able to work with many international broadcasters as we tried to set up common standards for transmission,” Romero said, “and that helped me as I needed to learn how to make sure they understood me. But also I understood them; I got to see how things were done in other parts of the world.” In 1982, Romero oversaw Spanish Television operations at the World Cup which was held in Spain. And, in 1984, he would work ABC as director of European Operations and head of the international operations for the 1984 Olympics. The 1984 Los Angeles Games essentially gave birth to the hostbroadcast model: ABC Sports had its own IBC, and the international broadcasters had theirs. The IOC liked the result because rightsholders were able to more easily get the type of coverage they desired. In 1994, Romero organized a new company called European Sports International. Owned by the EBU, it covered the 1994 World Cup in the U.S. In 1996, he followed that up by overseeing them for the Atlanta Olympics and, in 1997, established International Sports Broadcasting, serving as president/CEO. Under his leadership, ISB was host broadcaster for the 1999 World Alpine Skiing Championship in Vail and both the 2002 Salt Lake City Olympic Games and the 2004 Athens Olympic Games (it was also host broadcaster for the Paralympics in Salt Lake City, Athens, and Torino). “He was in charge of the whole operation and host-broadcaster organization,” said Terry Ewert, former coordinating producer and head of production, Atlanta Olympic Broadcasting, NBC Olympics, “and I found his feed to be exceptional, like everything that he produced.” Tom Sahara, Sports Broadcasting Hall of Famer and former,

SPORTS PRODUCTION 2023 YEARBOOK

VP, operations and technology, Turner Sports, worked on the 1996 Atlanta Games and worked closely with Romero. “Attention to every detail is just one of the many lessons that Manolo taught those of us who worked for him,” he said. “He demanded that we perform as well as the athletes. In many ways, we were his Olympians.” In 2003, Romero was named CEO of OBS and in 2006 was responsible for the successful broadcast of the Torino Winter Games, serving as CEO of the Torino Olympic Broadcasting Organisation (TOBO). For the 2008 Beijing Olympics, Romero and the OBS team were responsible for the successful production of more than 5,000 hours of television coverage, all provided in high definition and 5.1 surround sound, marking a first in Summer Games broadcast coverage. Through it all, Romero was front and center at development of key technologies, such as the move to color TV, solid-state cameras, digital tape formats, tapeless workflows, HDTV, SDI, and UHD as OBS and rightsholders around the globe ensured that the Olympics always lead the way in innovation. Peter Diamond, EVP, Olympic programming, NBC Olympics, saw Romero’s innovation as part of what makes OBS extraordinary. “He brought the Olympics to viewers around the world in ways that were never seen before and in ways that could only be imagined.” Romero retired after the 2012 London Games, but his influence will carry on forever. Current CEO Yiannis Exarchos cited Romero’s work ethic, total commitment, human warmth, and capacity to solve problems while innovating as the bar OBS tries to clear every day as it gears up for the next Olympics. “He could deliver for today while constantly thinking of new ways of improving the experience for viewers,” Exarchos said. “That is the measure by which I evaluate myself and our team every single day.” David Hill, former Fox Sports chairman and Sports Broadcasting Hall of Famer, summed Romero up this way: “The Olympic Games in the years since Manolo and OBS took over stand as a permanent legacy to his brilliance. He truly is a giant.” – Ken Kerschbaumer


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2022 Sports Broadcasting Hall of Fame 124

DEENA SHELDON I

n 40 years as a camera operator and technical innovator, Deena Sheldon has truly done it all. Not only has the nine-time Sports Emmy Award winner worked nearly every major sports event many times over, but her trailblazing work behind the camera has helped revolutionize the way live sports broadcasts are presented. “A simple listing of the events Deena has covered over her long career in sports TV is impressive enough and speaks to her mastery of her craft,” said Sports Broadcasting Hall of Famer Bob Costas, a longtime friend and mentor. “What that list would not reflect is Deena’s endearing personality. It could be 5 degrees below zero in Green Bay, and, even under those brutal circumstances, her ever-present smile, love of her work, and appreciation for her colleagues shine through. Deena is not only great at what she does; she is simply one of the nicest people I have ever worked with.” On the lengthy list of events for which Sheldon has run camera are 12 Super Bowls, 17 Daytona 500s, 17 Indy 500s, 24 Triple Crown races (including two Triple Crown winners), six US Open Tennis Championships, and three Olympic Games. She spent 12 years shooting ABC’s Monday Night Football and another 12 shooting NBC’s Sunday Night Football in 36 years covering the NFL for various networks. “Deena is one of the most prepared and knowledgeable camera operators I’ve ever worked with,” said Sports Broadcasting Hall of Famer Fred Gaudelli, who has worked alongside Sheldon regularly during his 33 seasons producing NFL games for primetime. “Her ability to identify players, coaches, general managers, owners, and wives is unparalleled. Her ability to get those shots prior to being asked is part of what separates her as a member of the crew. Her devotion to making the show great is on display for all to see just by observing her work.” Sheldon’s accomplishments aren’t limited to sports, however. She has also been an integral part of the coverage of nine presidential inaugurations and three presidential funerals, as well as countless presidential debates and political conventions. “In the trenches, she was always a step ahead, creating the right shots at the right moment and capturing the big action down to the smallest, impactful, emotional details,” said legendary ABC News director Roger Goodman. “She always had the shot.” In addition, she is a technological innovator who helped create multiple custom-camera systems and a pioneering 3D producer, having worked on eight 3D feature films and served as co-VP of the Sports and Entertainment Division of Cameron | Pace Group for Oscar-winning director James Cameron and Emmy Award-winner Vince Pace ASC during the heyday of live 3D sports broadcasts and 3D concert films in the 2010s. “Deena Sheldon is built for this job, mentally, physically, and professionally,” said Sports Broadcasting Hall of Famer and on-air talent Lesley Visser. “Have you ever seen her high-beam smile right before she goes into the middle of a postgame scrum to get the perfect shot? She’s enormously talented, people love her, and she gets the job done. Those of us on this side of the camera get to thank her every time we work with her. She does everything at the highest level.” In 1985, she started at CBS O&O WSBK-TV Boston, covering the Red Sox and Bruins. She soon found herself operating the first-base– dugout camera for all Red Sox productions and, by 1986, was regularly running camera on NFL and MLB broadcasts for various networks. In 1994, ABC’s Monday Night Football director Craig Janoff and producer Kenny Wolfe offered Sheldon her first opportunity to operate a handheld camera, during a Steelers-Vikings game. She would go on to capture some of the most iconic moments in NFL history during 12 years working handheld, sideline cart cam, and multiple other positions on MNF before transitioning to NBC’s Sunday Night Football in 2006.

SPORTS PRODUCTION 2023 YEARBOOK

“Deena is today and was for us at ABC Sports a remarkable and very talented woman, who — during Monday Night Football, the Kentucky Derby, or any other presentation — completely understood the needs of the production and her purpose with fitting in,” said Janoff. “She always fulfilled the need of the producer and director and, beyond that, brought to the table a great attitude and consistency, always with a smile.” That energy is especially apparent whenever she works the NFL sidelines, where she has arguably made her most indelible mark on the art of sports storytelling. “Deena has always prepared like a coach, talent, or producer,” said longtime NBC Sunday Night Football director and fellow 2022 Sports Broadcasting Hall of Fame inductee Drew Esocoff. “She knew every nuance of the subject matter, whether it was for a football game or a horse race. She is the consummate pro.” In 2005, Sheldon and her longtime partner in business and in life, Jeff Zachary, were asked by Vince Pace to join him at his company PACE. Sheldon and Zachary contributed significant input in designing and testing the 3D-camera rigs that would be used on the early live-3D sports productions and 3D concert films of the early 2010s. “Deena has been well-known for her camera expertise for years,” said Sports Broadcasting Hall of Famer and Hall of Fame Chairman Ken Aagaard, “but what stands out about her in my mind is her ability to innovate new types of camera systems that have been able to enhance sports broadcasts.” Throughout her career, Sheldon has also worked closely with major camera and lens manufacturers, including Canon and Cartoni, to field-test products and provide invaluable feedback to improve products for the industry at large. “Deena Sheldon is a passionate, strong, trailblazer who contributes to prove women’s excellence as a camera operator in a male-dominated industry,” said Cartoni President/CEO Elisabetta Cartoni. Canon USA National Accounts Sales Director Rich Eilers added, “You always knew how to find Deena at the NAB Show: she would be in our booth on the pedestal holding court by one of our longest field lenses, with a crowd of Canon engineers surrounding her. Her incredible operational knowledge would have all of our engineers busily taking notes to understand from Deena how to make our lenses more comfortable and efficient for the camera operator to use. From those discussions, lots of important functional improvements were made that all big lens operators benefit from today.” – Jason Dachman


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2022 Sports Broadcasting Hall of Fame 128

DARRELL WENHARDT W

hat do the NFL Network, the MLB Network, KABC Los Angeles, and WMAQ Chicago, and the PGA TOUR’s new production facility (set to open in 2025) have in common? 2022 Sports Broadcasting Hall of Fame inductee Darrell Wenhardt. Currently principal consultant at CBT West, he has played a major role in bringing together countless opinions and created the workspaces and workflows that have been crucial to the sports-broadcast industry for nearly five decades. Over the years, he has worked with hundreds of types of organizations, and figuring out what an organization aims to create means countless meetings with countless departments to make sure that the workflows will meet not only the need but the work environment. “What I like is being able to start with a clean slate with a client and dig into what they are trying to produce,” he said of his professional philosophy. “It’s probably overused, but it’s still about storytelling and being able to meet expectations within a client’s budget constraints. We need to understand exactly what their production requirements are before we even begin to apply technology to it.” When it works, the new facility can also help reshape the culture. Wenhardt cited his work on the NFL Network’s facility in Culver City, CA, in 2003. “We worked with [Sports Broadcasting Hall of Famer] Geoff Mason through the whole process,” he explained. “What was unique — and a key factor — was that NFL Network CEO Steve Bornstein and Geoff brought NFL Network host Rich Eisen in early. He became a critical player in bringing the right energy to the set and did it in a way that gave the network a unique voice. It was one of those cool times when we got the talent involved.” The result was a facility that laid a cultural foundation for the new NFL Network facility. A few years later, Wenhardt helped MLB Network launch in a brand-new facility. Both the NFL Network and MLB Network projects offered an opportunity to develop new technology to provide fans with direct access to teams and players. Tony Petitti, former president/CEO, MLB Network, said Wenhardt played a huge role in the launch of MLB Network. “His innovation and implementation of the Ballpark Cam system was truly a gamechanger for MLB Network,” he said. “The system connected us to every team and allowed us to show images from every ballpark at any time with a simple toggle on a controller in our control room. We conducted thousands of interviews with players, managers, and coaches. Darrell’s vision and his execution were flawless.” After graduating from San Diego State University, Wenhardt got his first full-time job as a teleproduction engineer at Grossman Community College, where he learned a lot about system design and spent a lot of time imagining how to build better equipment that students would destroy in a semester. This led to a chance to begin a business in 1974: Centro Corp. The company was building systems for various schools in California and also realizing that it could make more money on integration work than on designing and building equipment. Growth, however, led to cash-flow problems because Centro was working on multimillion-dollar jobs that required capital outlay for materials and equipment. Several years later, one client, Salt Lake City-based Skaggs Telecommunications Services, decided to acquire Centro and make it a wholly owned subsidiary. Wenhardt declined the offer to move. “I met Darrell in the early ’80s when I was at NBC and needed a truck built in a very short time for golf and was fortunate to have

SPORTS PRODUCTION 2023 YEARBOOK

found Centro to figure out how to do the impossible,” said Sports Broadcasting Hall of Famer and Hall of Fame Chairman Ken Aagaard. “Darrell’s ingenuity in pre-building the guts to the truck in his shop and sliding it into the truck that was completed only weeks before we needed it was sheer brilliance. Especially when it worked. We used the truck for multiple years.” By 1988, after he had gone independent, relationships with Hall of Famer George Wensel, founding partner and president, NEP/ MPS, and Aagaard led to the formation of a new company: Creative Broadcast Techniques (CBT). For more than 20 years, CBT was at the center of not only the facilities described but also the America’s Cup in 1992 and 1995 and even FIFA World Cups in 2002 and 2006. From the mobile units to the brick-and-mortar projects, Wenhardt built a solid reputation for understanding where technology was headed, how best to apply it to a client’s needs, and how to deal with a wide variety of pressures. Not to be left out of the latest in sports-video production, Wenhardt and his CBT Systems Team found themselves in the middle of esports development — designing, building, and launching Riot Games’ first venture into studio and full REMI production with a temporary facility in Manhattan Beach, CA, and an 18-camera flypack for events in Cologne, Germany, and Seoul. Since 2016, Wenhardt has devoted countless hours to development of a new-from-the-ground-up Digital Broadcast Center for the PGA TOUR. Set for completion in January 2025, the project includes development, with NEP, of a completely new set of advanced-technology remote trailers capable of producing CBS, NBC, and ESPN weekly coverage of all PGA TOUR tournaments, plus adding in the TOUR’s new Every Shot Live multichannel streaming service. Luis Goicouria, SVP, media, PGA TOUR, said Wenhardt has been a rock for the PGA TOUR and its ambitious project to build a new, greatly expanded production facility. “His knowledge of the broadcast technology needed in this type of facility is truly world-class, and he has been an integral part of every conversation,” Goicouria explained. “Simply put, we would not have been able to pull it off without his expertise and wisdom.” – Ken Kerschbaumer



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In 2022, 3G Wireless has added 12G / 4K enhancements to our current product line of RF Cameras, On-Board Camera Systems, NFL / CFB Pylons, Bike Racing, Helicopter Cameras, and specialty POV cameras. We also undertook many new challenging events this year such as Red Bull’s extreme Plane Swap stunt, the Maryland Cycling Classic, and the USFL inaugural season. 3G Wireless is also excited to be partnering with NHRA / FOX for the broadcast of the NHRA Camping World Drag Racing Series to deliver never-before-seen On-Board angles and crystal clear talent mics. Specifically, for the USFL we developed RF packages to deliver seamless HFR and HDR video transmission for steadi-cams, pylons, and handheld RF cams. 3G Wireless has positioned themselves to keep pushing the RF limits for live sports broadcast.

AIR has had a great 2022! We debuted the AIR One fully integrated remote production platform at NAB, where we were the first start-up to win their Technology Innovation Award, and also took home Product of the Year (Remote Production). In July, AIR took part in Turner Sports’ innovation day at the NBA Summer League in Las Vegas, where we got to show off our shallow depth of field imaging and our easy remote control camera capabilities. See our website for highlights from field trials with PGA, Major League Rugby, and CompNet Jiu Jitsu Tournament. AIR One ships in Q4 2022 and includes robotic head, 4K cinematic camera with interchangeable lens, iPad with smart control app, connectivity accessories, high-impact carry case, and three-month subscription to our cloud platform. The platform can typically save 50% or more on live remote production costs.

With our VPCR (Virtual Production Control Room), ASG makes it easy to replicate live production workflows in the cloud. Creative teams can produce and edit programming from any location. With the VPCR, you can produce real-time news, sports, esports, any live event programming — with or without a physical control room or production truck. The VPCR’s collaborative ecosystem supports a choice of production tools, so you’re never limited to one proprietary software solution. Structured in a VPC (virtual private cloud), its infrastructure is provisioned to create real-time, network-based control. Camera feeds, videoconferencing platforms, and other IP-based contribution sources are admitted into the VPC, converted to network streams, and routed to the switcher using a cloud-based production router .

Broadcast Services Provider Profiles

BROADCASTSERVICES

AE Live (AE), a world-leading provider of broadcast solutions to governing bodies, broadcasters, and production companies, is excited to be celebrating its 30th anniversary in the industry having recently expanded its global footprint with new subsidiary offices located in the US and Southeast Asia. For the past three decades, AE has built a reputation forged upon an ability to consistently deliver a reliable, yet innovative service in demanding environments around the world, specializing in capturing, processing, and visualizing live sports data using innovative, impactful, and informative on-screen graphics and augmented reality content.

Aerial Video Systems

AVS is part of the NEP Broadcast Services Company and the leader in high-bitrate wireless 4K, HD, and aerial production with over 120 Vislink HD and 4K RF systems, including the new HCAM. AVS offers two 4K GSS and four Cineflex gyro-stabilized camera systems for vehicles, boats, helicopters, or its three Partenavia fixed-wing aircraft for aerial coverage. They also collaborated with Vislink and Canon to provide the Canon C-500 shallow depth of field camera with control. AVS inventories the Sony P-50 cameras and was the first to integrate these into RF Steadicam systems with video return and prompter. This is the preferred package for major sporting events including Sunday, Monday, and Thursday Night Football; the Super Bowl; NBA All Stars; and virtually every live award and entertainment show. AVS is a part of NEP’s Specialty Capture division alongside BSI and the Fletcher Group.

All Mobile Video has remained committed to providing answers to both since 1976. As one of the country’s premier providers of end-toend Video and Audio solutions, we offer a full spectrum of production services: Mobile Production units, Sound Stages, Post-Production, Streaming services, Equipment Sales & Rentals, and Centralized Master Control. The All Mobile Video team commits to serving clients and building relationships, catering to the individual needs of each production with unparalleled attention to detail. From Video and Audio Engineers, Camera Operators, Editors, Graphics Specialists, Sound Designers, to Production Support — AMV boasts an experience level to rival anyone in the broadcast industry with a solid team of smart, strategically driven and highly trained thinkers.

While Allied Broadcast Group is known in the broadcast industry for selling used gear, 2022 has been all about selling NEW! ABG has sold more new gear this year than in any prior since we began in 2011. This

SPORTS PRODUCTION 2023 YEARBOOK

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ARCTEK Satellite Productions recently introduced their newest Ku-band Sprinter, ARCTEK Gray. This truck packs a ton of capability to hit on all your REMI needs. ARCTEK Gray joins ARCTEK Black, Purple (both C-band) and Magenta (Ku-band) with the ability to transmit a 10+ path HD mux as well as 1080p, HDR, or 4K. ARCTEK can also service your encoding-only needs to fiber and IP with their uplink trucks and their mux fly-pack that can stand alone or be easily outfitted in their compact Mercedes Benz Metris. ARCTEK Satellite Productions is the company you want to call when you need reliability. ARCTEK is proud of its talented team who raise the bar high and are ready to roll nationwide with six well-equipped Sprinter satellite trucks (four Ku-band and two C-band). When you think satellite, think ARCTEK. Nothing is more reliable than satellite.

Azzurro just completed the rollout of its NICO controller for Fox Sports and NFL Network. This browser-based software provides full control of all IP equipment at the network’s studios throughout the country. The software features ultra-low latency video and audio previews, offering a truly interactive experience. Coupled with responsive control features, the user can build transmission paths and frame up live shots in real-time. This summer, AzzurroTX portable systems provided transmission from NFL training camps. Azzurro TeamCam systems continue to provide live interviews from every team facility and at-home analyst. We are excited to be working with Stadium Sports Network who will be utilizing AzzurroUTX systems for talent working from their home studios.

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Bexel, an NEP Broadcast Services Company, is the leading global provider of broadcast solutions. For 40 years, Bexel has supported major broadcasters in bringing the most important events to a global audience. Our team of technicians and engineers build custom, scalable broadcast solutions for a range of services including production equipment rentals, RF audio, 4K technology, fiber optic solutions, virtual production, and systems integration. Bexel is supported by the strength and resources of the NEP Worldwide Network, ensuring superior, consistent service anywhere in the world, with technical support available 24 hours a day, 7 days a week. We have the proven experience and industry-leading technology to cover your live sporting event, entertainment production, studio facility, venue, or house of worship, and government broadcast.

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The Sports Group continues to be a leader in the design, deployment, and service of technology systems that help our clients engage fans, enhance teams, and expand revenue in their venues and facilities. In addition to completing control room upgrades for the Minnesota Twins and Toronto Blue Jays for Opening Day 2022, we also have been assisting several of our professional and collegiate sports clients with additional upgrade projects to prepare for their upcoming or current seasons. Looking ahead, we are working on a new production facility for the Atlanta Falcons and are also providing the IP-based video production systems for the new MSG Sphere Las Vegas, a first of its kind entertainment facility in the world. Lastly, we are working on multiple sound systems, IPTV systems, and other technology upgrades for various clients. Whether you need A/V for your team facility, a new control room for in-venue or live event production, an IPTV system, or a large venue sound system, Alpha Video has the solutions and awardwinning team to assist you with all of your technology needs.

at Citi Field, home of the New York Mets. The Mets called on BeckTV to spearhead the control room integration in the 13-year-old stadium. BeckTV installed and engineered the brand new, 4K SMPTE ST 2110 system, replacing the venue’s legacy equipment with new 4K- and IP-capable gear and workflows.

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Broadcast Services Provider Profiles

past year, we have sold six fully equipped production trailers to the Southland Conference for their sports productions, plus the trailers we have delivered to other clients, and we have even more trailers currently being built! And ESPN sports aren’t the only sports we equip clients for. Whether it’s Ross gear for Equestrian Sports Productions, a rack-ready trailer for Boxcar Productions to cover pickleball, or an audio-capture trailer for the Cherokee Nation, we can get you the gear to not miss a moment of the action!

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This year has seen explosive growth at Broadcast Management Group. BMG has seen an increase in new clients and work from existing clients. To meet the demand, we expanded our staff, doubled the size of our Las Vegas Broadcast Operations Center, and added REMI mobile units. We also expanded our New York City facility. In August, we hired Graham Taylor as Executive Producer of Sports Programming. In September, we rolled out another REMI mobile unit. BMG has operations in New York City; Chicago; Washington, DC; Los Angeles; and Las Vegas. The company provides turnkey sports packaging services and managed services including outsourced production facilities, longterm production staffing, facility management, and operations and original programing production. BMG’s proprietary REMI workflow of centralized technology and decentralized production teams allow it to provide the best creative and technical teams for every project, regardless of the location.

Broadcast Services International is a recognized leader in domestic and international broadcast markets. Providing full turn-key production solutions including technical consulting, equipment rentals, RF wireless solutions, commentary systems, and host broadcast packages. BSI is finishing its busiest integration season to date with successful installations for the BBC at the European Championships in Munich, Germany, and the Commonwealth Games in Birmingham, UK. Among its many design and integration projects BSI is looking towards a very busy 2022 winter season with a series of winter events and international golf projects along with their returning annual productions. BSI has also added new equipment to its roster with a Ross Ultrix Router, Sony 4300 cameras, a Calrec Brio, Multidyne 12x1 3G Multiplexer, and a host of facilities to ensure BSI’s clients continue to receive world-class production services and equipment.

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BeckTV is a premier design-build systems integrator. We’ve been serving broadcast customers across the United States for almost 40 years, with clientele ranging from broadcast and cable networks, local TV stations, sports trucks, stadiums, and venues to educational institutions and houses of worship. BeckTV has a reputation as the go-to integrator for sports installations. One of our flagship sports projects in 2022 was

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SPORTS PRODUCTION 2023 YEARBOOK

At Broadcast Sports International (BSI), our engineers and operations team are at the leading edge of turnkey custom broadcast solutions — we’ve done it for more than 40 years. Our work spans some of the largest and most important events in broadcast history. Founded in 1979 by an entrepreneurial team of engineers, BSI now employs


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Broadcast Services Provider Profiles

nearly 200 people worldwide and boasts a 50,000 square foot U.S. headquarters just outside of Baltimore and an international office near London. Our fleet of state-of-the-art production trailers are in action every weekend of the year at major live events.

Founded in 2000 and headquartered in Memphis, TN, CES Power has a multi-decade track record of providing reliable and safe power solutions to its blue-chip customer base, including at the world’s most complex and highest profile events. The company offers a full range of technology driven power services to the broadcasting, entertainment, and industrial sectors.

CineSys is a Broadcast and Media Systems Integrator providing solutions, integration, and support for digital content creators. With extensive IT experience and a foundation in media, CineSys serves a range of industries from postproduction companies to broadcast and sports organizations. This year, CineSys has helped numerous businesses implement cloud and hybrid solutions, while also setting up new edit, sound, and color suites for a major broadcaster. With development and MAM teams in-house, CineSys can help create customized solutions for customer specific workflows. They also provide fully managed support services, freeing up customers’ internal teams to focus on the work at hand. Are you looking to take advantage of your sports archives, need remote access and sharing capabilities, or more efficient storage for the ever-increasing amounts of data? Get in touch with CineSys to discuss how they can help strengthen and accelerate your workflow, so that you can focus on growing your business.

Since 1995, Clark has been at the forefront of helping the local church reach their communities in new and innovative ways. For the last 25 years, we have worked closely with churches of all sizes, ready to bring our passion and experience to your project: transforming your space into a dynamic environment. Our passion is to bring your vision to life on time and on budget.

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suppliers of encoding, networking, and streaming solutions. These technologies have recently been deployed for the ACC Men’s Golf Championship, Bahamas Great Exuma Classic, and CrossFit Games. CP Communications continues as the leader in RF Coordination services for sports content acquisition, including the recent 2022 World Games Championship in Oregon.

Creative Mobile Solutions provides tapeless workflow solutions for live events and studio-based shows. We stay on the cutting edge of tapeless workflow and use our expertise daily in live production environments. Our goals are increasing efficiency and saving your production time and money. We provide services for television, film, commercial and other video productions. The experts on our team have worked with TV shows like Survivor and The Apprentice, films including Iron Man and Sex and the City: The Movie, award shows like the Oscars, the Golden Globes, and the MTV VMAs, and major sporting events such as ESPN’s ESPY Awards, the Grand Prix de Trois-Rivières, the US Open (Golf Channel & ESPN), ESPN College Football Gameday, the NBA Finals, and the Super Bowl.

From the lens of the camera to the viewer’s screen, DigitalGlue is a true glass-to-glass systems integrator, partnering with trusted vendors and supplying the equipment necessary to enable the production and distribution of digital video to billions of viewers each day. DigitalGlue enables creatives to work more efficiently through their in-house custom software development, innovative content creation, and production solutions, and a multi-tiered approach to eliminating technology roadblocks. Their first-of-its-kind on-premise managed storage platform, creative.space, is offered as an all-inclusive service. creative. space uniquely bundles next-generation hardware, comprehensive software, and support with proactive monitoring into one monthly or annual price. As a trusted systems integrator for companies such as The Home Depot, Coca-Cola Studios, Crew Cuts, Brat TV, and Church of the Resurrection, the DigitalGlue team has over two decades of realworld experience identifying and solving our clients’ workflow issues.

Since 1988, Conference Technologies, Inc. (CTI) has provided comprehensive technology services including design, engineering, training, and support for professional audio-video, broadcast, and control systems. Through a proven process, CTI designs, integrates, and maintains complete sports production and streaming systems for reliable, interactive experiences. CTI’s quality approach has been consistent — deliver the very best audio-visual and broadcast solutions. The media technology team at CTI is dedicated to service, quality, and customer satisfaction locally, nationally, and worldwide, and understands the specialized needs of clients in arenas and venues for connected sports and entertainment experiences.

Technology surrounds and engages, permeating the consciousness with sights and sounds. It’s facts, data. Pitch speed. 3-pointers shot and made. Yards needed in a game of inches. But it’s much more. It’s a link. A connection between you and your fans — exciting and energizing them — even if they’re not in the stands. All facets of how the world interacts today revolves around screens. They are a powerful communication medium critical to fulfilling a brand promise, a fan experience, and operator engagement. When done right, communicating via digital screens empowers human connection. By removing the distance. Delivering a message. Celebrating fandom. Even saving lives. There is a lot at stake. People just expect the technology to work. It’s that simple. Yet the requirements for facilities, operations, marketing, and IT are bigger and more complex than ever. Diversified understands your need to demonstrate the value of next-gen technology to key stakeholders.

The return of live sports has been enhanced by technology innovations for location-based and remote production. CP Communications and its Red House Streaming subsidiary have aggressively expanded its portfolio across content acquisition and production, live transport and streaming, and NOC-based monitoring. CP and RHS have also strengthened its national sports production footprint with a new strategic business location in the busy Los Angeles market. The Red House Streaming business emphasizes IP, cloud, and bonded cellular networking. Along with FASTReturn and Virtual Media Center cloud solutions, RHS now offers Aviwest, Haivision, Kiloview, Mobile Viewpoint, and Videon technologies, making it one of the largest

DNA Studios is gearing up for their busiest college football season with network clients, conferences, universities, and local TV stations utilizing the 7 mobile trucks at DNA. Also being utilized is the new broadcast control (REMI) rooms that will output 5 to 7 additional broadcasts each week. The new control rooms boast a Ross workflow including Ultrix routers, Carbonite switchers, XPression graphics, and more. DNA also launched two additional mobile units this fall: HDBlue and HD14R. HD Blue has 6 Grass Valley LDX92 cameras, new Dante booth and soundboard, RTS Odin intercoms, Ross switchers, XPression graphics, two EVS replay units, and more. HD14R is a REMI

SPORTS PRODUCTION 2023 YEARBOOK


20 cameras streaming into master control

2 sports legends discuss a huge play

5 slow motion editors finding the best shot

3M fans on the edge of their seats

Dell PowerScale All-flash storage provides high-performance, high-density for 4K live sports production from truck to cloud. Already trusted in workflows around the world, Dell PowerScale, the world’s most cyber-secure scale out NAS1 storage allows broadcasting professionals to collaborate faster, monetize assets and deliver securely. No matter what your story is, you now have the power to get it to the world faster – and simpler – than ever before.

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Broadcast Services Provider Profiles

designed Sprinter van with 5 cameras, full V1 shading capabilities, Dante capable audio and intercom, and full 3-person booth and sideline reporter. Finally, DNA Studios continues to be utilized by news networks for live shots by utilizing DNA’s large and small studios, interactive backgrounds, full IFB, and over 10 different brands of broadcast encoders.

Dome Productions is North America’s leading production and transmission facilities provider, offering 4K/HD mobile production facilities, transmission services, studio and control room facilities and full turnkey Host Broadcast and Media services. Dome is very unique in its business approach and has worked with all major broadcasters, leagues, teams, federations, production companies, Government of Canada, and many other content creators. Dome continues to be very active in the esports video gaming space and we are definitely at the forefront of this fast growing sector. Dome provided a virtual 1080p technical workflow for both the NBA 2K League, and for the Overwatch League, where we integrated numerous IP contribution signals from all over North America and Asia, including players from all remote teams, Producer and Director with access to a Multi-View remote setup, and all delivered to our Dome control room in Toronto to be produced and streamed Live to Twitch and YouTube.

DX3 Media Inc. is a media production management and consulting company. Its Managing Director has a reputation unparalleled in the industry with over 25 years experience providing cost-effective client options on a variety of projects. DX3 Media excels at providing outof-the-box thinking resulting in creative solutions for clients’ projects.

Encompass provides world-class media services to professional sports leagues, top-tier networks, and platforms, including content acquisition, media processing, playout, distribution, and disaster recovery. On average, Encompass acquires/distributes 100,000 live events/feeds annually and services approximately 1,500 full-time channels globally on a daily basis. As a strategic technology partner, Encompass offers continuous innovation, supporting its customers’ business needs as the next generation of media workflows evolve to a fully managed virtual environment. The company’s private Altitude Media Cloud is designed around broadcast media interfaces, protocols, performance, and service levels. Channels are deployed across diverse geographic regions, supporting both pre-recorded and live events with built-in disaster recovery. Not only does Altitude solve the issue of running critical broadcast applications on virtualized infrastructure, but it also provides exclusive and direct access to Encompass’ global satellite and video fiber footprint.

ES Broadcast completed an IP upgrade for the University of Minnesota. UMN athletics teams compete in the Big Ten Conference, with games broadcast across both the Big Ten Sports Network channels and ESPN. ES Broadcast developed a solution that enabled UMN to migrate from SDI to a COTS-based uncompressed IP production workflow, with a strong focus on keeping down both cost and complexity. The system was designed and deployed on a 100G switch infrastructure supported by Imagine Communications’ SDNO routing control solution and Selenio Network Processor for on-ramp SDI-to-IP conversion, frame synchronization, and audio shuffling. The ST-2110 control room incorporates a Grass Valley K-Frame V Series production switcher, while a fleet of GV LDX 92 HDR IP camera chains were also provided.

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As one of the leading domestic and international freight forwarders in the U.S., we take a personal approach to creating customized logistics solutions. Whether it’s air, ground, or ocean freight, we’re able to deliver the most optimal solution for our clients every time. We work with clients around the world and across industries, including retail, e-commerce, government, automotive, healthcare, technology, and exhibit services. Our extensive North American and global coverage, unsurpassed service capabilities through our hybrid transportation network, and unique backing by Estes Express Lines differentiate us from every other freight forwarder. But what truly makes us stand apart is the commitment we make to always treat our customers the way we would want to be treated, and apply a deeper level of care to every engagement.

Filmwerks began 25 years ago providing entertainment power and service to the film industry. Live broadcasts came to be the primary market, mainly for live sports. Over 10 years ago structures were added to our portfolio, strengthening our offerings in the market. Filmwerks then added a scenic division to their list of capabilities becoming a turnkey provider of live events, studio productions, and custom fabrication. The power division was sold to Sunbelt Rentals and Filmwerks has refined their focus as a first-class structures and scenic provider to all markets. Combining our experienced technicians and craftspeople with custom structures and scenic, Filmwerks provides solutions across the entertainment, live event, and themed environment spectrum. The Filmwerks staff has provided thousands of hours of live broadcast for events including the Super Bowl, US Open Tennis, PGA Championships, NCAA Final Four, live news, music festivals, and fashion shows.

For over 25 years, Emmy Award-winning Fletcher Sports has created some of the most innovative and memorable images for the NFL, NBA, MLB, NHL, plus many other sports broadcasts. Fletcher also provides specialty cameras to a variety of Entertainment shows, concerts, and Special Events for broadcast or in-house production. Fletcher serves the international sports broadcasting market with our Fletcher London operation.

This Side Up Productions has been involved with innovative camera technologies since its inception in 1994. The company has continued to develop and perfect the ultralight aerial FlyCam following its incredible debut in February 1998 during the Papal Visit in Mexico City. Pat Hally, the founder and president of This Side Up Productions originally worked with inventor Garrett Brown to develop the tracking camera systems used in the 1996 Summer Olympics in Atlanta. Conceived soon after the Atlanta Games as a high-speed point-topoint flyer combining the best features of Garrett’s ground and aerial systems, FlyCam entered the television history books with that 500 foot flight over the Popemobile and has since drawn raves for super-close, dynamic coverage of sporting events and concerts on six continents. FlyCam has flown over nearly every sport imaginable, capturing some of the most awe-striking moments in modern memory.

Game Creek Video sets the industry standard for facilitating successful live broadcasts and recordings. As a family-run, privately owned company, Game Creek works with the world’s largest television


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Broadcast Services Provider Profiles

networks, production companies, and news organizations to provide them with comprehensive mobile production solutions. We combine an advanced, state-of-the-art fleet of mobile production units with an accomplished, reliable team of experts to ensure that the largest events in the world are televised flawlessly. For clients requiring dependable technology, exceptional response time, and consistent quality results in high-pressure environments, Game Creek Video delivers awardwinning productions of sporting events, concerts, awards ceremonies, corporate events, and more.

Since 2003, Geartech Technologies has been offering a variety of highend products in the field of telecommunications, broadcasting, and cable. With offices in strategic cities, the Geartech Technologies team is available to better serve, advise and support you as a distributor or supplier. Geartech Technologies provides top quality broadcasting and telecommunications equipment for businesses in the North American industrial and commercial markets.

Gravity Media is the only end-to-end provider of bespoke technical solutions and tailored production and creative services across global sport, entertainment, and drama. Our team of experienced producers, technicians, engineers, and creatives have unrivalled experience solving production and content challenges through technology and innovation. With state-of-the-art equipment and world-class production facilities to capture the action and create content to excite fans and audiences. Our on-screen and behind-the-scenes clients trust us to capture iconic moments for the world to watch. This year, we are focusing on the evolution of remote broadcast production for sports federations and broadcasters globally. We are also growing and developing the next generation through various avenues including our Production Center expansion across London’s White City and Manchester, bringing together broadcast, production, and postproduction solutions.

HLW, a full-service design firm, is a leader in sports broadcast facilities design. For more than 25 years, our dedicated Media + Entertainment Studio — comprised of architects, interior designers, and industry specialists — has designed elegant spaces that feature efficient workflow and fully integrated, top-tier technology. Our client list includes ESPN, Fox Sports, NBC Sports, CBS Sports, PAC 12, and PGA Tour Entertainment. HLW is currently working with NBC Sports to integrate new, remote venue control room suites into their facility in Stamford, CT. After a decade of operating in the facility, NBC Sports has implemented a program of smaller and more flexible production suites to support their remote venue production control operations. HLW assisted in the development of these new space types for NBC Sports, basing the critical functionality on the former truck facilities that supported remote venue operations in the past.

Illumination Dynamics (ID) services Live Broadcast, Film, Television, Theatrical, and Special Events providing Automated and Film Lighting equipment, Transportation, Redundant Power systems, Technical services, and Crew. Our main locations are in Santa Clarita, CA, and Charlotte, NC, with additional ARRI Rental facilities available to us for support. ID operates nation-wide as well as providing lighting services internationally. Our Broadcast division is an essential component of ID’s success providing reliable redundant generator power, UPS Systems, lighting design, equipment, and crew to multiple events. ID’s staff strives to provide a premium service for our customers and we recognize their loyalty has driven our success. Our staff remains on call for support 24 hours 7 days a week. Throughout 2022 ID has continued its excellent service for PGA Golf,

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the NFL, College Football, MLB, Super-cross, Extreme Sports, The ESPYs, and many more.

Founded in 2007, IMT is a systems integration company servicing media & entertainment, enterprise and institutional clients with a broad range of media technology, IT and video collaboration solutions. Since its inception, IMT’s software team has developed and delivered a broad range of software solutions designed to solve critical customer problems to make technical organizations more accountable and efficient.

Key Code Media is the preferred resource for audiovisual equipment, installation, and aftermarket support. We approach complex projects with a high-touch customer service focus, ensuring equipment is delivered, installed, and adopted by a customer successfully. OUR SOLUTIONS INCLUDE: A/V (Conference Rooms, Lecture Halls, Classrooms, Video Walls, Collaborative Offices, City Council Chambers); Broadcast (Comm Systems, Flypacks, OB Truck, and Control Rooms); and Production Equipment (Audio Suites, Video Edit Suites, and Networking). We focus on your vision and business needs, deploying solutions that work today and into the future, keeping you ahead of technology.

KMH Integration removes the complexity for sports organizations installing or upgrading an A/V system or production workflow. Offering a full range of consulting, system integration, and project management services, the KMH team works collaboratively with customers from initial design through project completion to ongoing support. Our team helps customers design more efficient production workflows, expand their operations, reach new audiences, and use technology most effectively for long-term growth. Recent sports projects include ongoing network technology, IPTV, and production workflow upgrades for the New York Giants, and a multi-phase upgrade for the Pittsburgh Steelers, redesigning the team’s production and studio spaces and consulting on a file-based media asset management system.

LH Computer Services is a reseller specializing in video storage solutions for professional and collegiate sports. LH offers solutions that provide next-generation storage platforms providing content production, distribution, and archive with the performance and reliability needed to meet extreme production and delivery deadlines. The company offers solutions with file systems, optimized for video, in an end-to-end solution from ingest to archive that are designed for performance from the ground up and built on the foundation of providing high-performance collaboration to leading post and broadcast organizations. LH has a variety of manufacturers to draw from providing direct-attached storage, FCSANs, as well as a traditional NAS, to meet the demanding needs of your workflow.

Live Media Group Holdings combines the talent and expertise of TNDV and Lyon Video into a powerhouse of live event production. Lyon Video’s focus on sports production with full-size, large format trucks is complemented by TNDV’s impressive fleet of 10 smaller to mid-sized trucks that specialize in diverse broadcast, entertainment, worship, and corporate productions. TNDV also possesses the talent, gear, and infrastructure for live sports production, and this year celebrates a decade of production services for the Ohlmeyer Kusserow Group, a TV production company that TNDV assists with sports


The ultimate live sports viewing experience Live sports in Advanced HDR by Technicolor® now available 24/7 throughout the USA from 35 Sinclair stations. The solutions are supported by a growing number of partners, including Cobalt Digital Inc, Ateme, BBright, Cinnafilm, MediaTek and Hisense TVs.

Advanced HDR by Technicolor delivers High Dynamic Range (HDR) production, distribution and display solutions leveraging machine learning (ML) technology to facilitate production of high dynamic range live sports video for a brilliant viewing experience by sports fans. Advanced HDR by Technicolor solutions include: • Flexible SDR to HDR real-time up-conversion to manage contrast, brightness and color saturation. • SL-HDR encoding to transform HDR input streams into SDR/HDR-plus-metadata streams.

Momentum for Advanced HDR by Technicolor Builds in 2022 November 2022 SMPTE White Paper Proves Efficacy of “Perfect” Round-trip HDR and SDR Performance from Advanced HDR by Technicolor in Live Productions September 2022 Advanced HDR By Technicolor Showcases New Solutions With BBright, Realtek and Cobalt Digital July 2022 MediaTek Discusses Partnership with Advanced HDR by Technicolor to Embed Latest HDR Technologies into System-on-Chip Offerings July – 2022 NAB 2022 Advanced HDR by Technicolor and Sinclair Broadcast Group Report on Rapid Expansion of HDR-Ready TV Stations Across the United States April 2022 Advanced HDR by Technicolor Introduces “No Compromise” Roundtrip Feature for HDR and SDR Live Productions April 2022 Sinclair Broadcast Group to Offer HDR Content for Bally Sports Regional Networks with Advanced HDR by Technicolor February 2022 Hisense Collaborates with Advanced HDR by Technicolor and ATSC 3.0 to Integrate HDR into New ULED TVs

www.advancedhdrbytechnicolor.com




Broadcast Services Provider Profiles

production needs for aquatics, cross-country, golf, tennis, and more. TNDV also just completed production on the Corky Kell Classic for Score Atlanta, providing mobile production services for 11 locally televised and streamed football games in three days. TNDV will produce its second consecutive season of locally televised high school football coverage this fall for Score Atlanta this fall.

Markertek, a 100% Employee Owned Company, celebrates its 35th year as a trusted supplier to the broadcast and sports video industry. It’s time to once again experience what being a customer should feel like. The Markertek Broadcast Sales team supports customers throughout the television industry keeping up with its ever-evolving technical needs in studio, ENG, and field production work. With decades of industry experience, we are uniquely positioned to assist with specialized pricing, project consultation, and yesterday turnarounds for inevitable last minute rush requirements. We offer a vast line card of top brand video and audio products as well as custom solutions for an endto-end trusted source to keep you on-air and on-budget. And believe it or not, we actually pick up the phone when you call! In addition, are uniquely positioned with our custom fiber, custom cable, and custom metal shops. These value-added services provide the finishing touch on projects of any size while saving you valuable installation time.

Grup Mediapro is a leading group in the global audiovisual industry, unique in content integration, production, and audiovisual distribution. Operations are held worldwide through its 53 offices distributed across 31 countries on four continents. Grup Mediapro provides the creative and technical solutions necessary to design, produce, and distribute high-quality audiovisual or multi-channel projects. Grup Mediapro offers “end-to-end” sports production and transmission for all kinds of sporting event coverage. Grup Mediapro has successfully expanded its roots to the US opening 13 studios with the highest technology available. Mediapro US Miami studios host Univision’s live production of “Combate Global” showcasing the best Latinx mixed martial arts fighters every Friday night with 2021 averaging 400,000 viewers. Mediapro US Odyssey mobile unit will begin the full production of 14 games for the 2022 College Football Season.

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tem is gaining traction which delivers MTVG’s high-quality live production solutions at a much lower cost for small and mid-size productions, anywhere, with a minimal onsite equipment footprint.

You have a vision. We see it, too. With a worldwide network of experts and cutting-edge technology, our unique Global Production Ecosystem empowers content creators and rights holders to tell stories in breakthrough ways. We’re built on 35 years of trusted experience across broadcast, live event, and virtual production to deliver the solutions you need — anytime, anywhere. We recently attended the IBC2022 show, where we demoed NEP’s RF and Specialty Capture products (Mini TX UHD and Pico Cam) and our award-winning Mediabank media asset management platform. We also launched TFC Flow, a powerful and easy-to-use IP-based “DIVA” tool offering complete control of data, intercom, video, and audio signal flow within a unified live event network, all powered by NEP’s proprietary, web-based, multipurpose control platform, TFC (Total Facility Control). TFC Flow harnesses the power and scalability of IP/2110, while removing the complexity that comes along with it, making network configuration fast, easy and secure.

OSA International has added a Broadcast Services division to its diverse offerings. The division is being led by Steve Cormier. OSA is now able to offer full 360 solutions to our customers. We have recently supported events such as The World Games, MLS soccer, and audio and intercoms for the entertainment portion of the American Rodeo at Dallas Stadium. We are also sending equipment in support of the FIFA World Cup 2022. New equipment additions include Calrec Brio mixers with Hydra2 48x16 analogue I/O boxes. OSA International and FingerWorks Telestrators are forming a strategic partnership.

PIXERA is a multi award winning 64-bit media server system for professional real-time media processing, compositing, and management, built around the key theme of usability. Users can gradually discover the options and features and can smoothly transition from being a beginner to becoming a specialist.

The crew at MeyerPro has been hard at work supporting broadcast events throughout the country. DOTA2 The International won a National Emmy Award and MeyerPro provided top to bottom technical support for the broadcast in multiple languages. Additionally, Nike called on MeyerPro to provide LED wall, video, and audio systems for a hugely successful production of a high-profile high school football showcase on their campus in August. Last year, MeyerPro pioneered the xR (Extended Reality) Stage solution and took virtual/hybrid events to the next level. This year, although AR/VR is still going strong, 2022 is the year of investment in 4K/12G flypack production systems. Building out the systems with Sony HDC-5500 cameras, Ross switchers, routers and XPression graphics systems the engineers at MeyerPro have streamlined these flypacks into quickly deployable powerhouses.

Planetcast is a key market player in providing technology-led managed services. We provide comprehensive, customized solutions across content management operations and distribution. We are proud that we are held in high esteem in the outsourced distribution and play-out services segment in India. With a robust track record of nearly two successful decades, we have been offering most agile and state-of-the-art services to broadcasters. We are driven by a passion to help business units build stronger and innovative services. Planetcast’s ability to conceptualize, architect and implement new and expanded capabilities allows clients take their business to the next level.

Mobile TV Group (MTVG) has recently launched IP mobile unit 50FLEX and 50VMU. As part of further expansion to its fleet, MTVG’s 51st mobile unit is nearing completion. MTVG’s Cloud Control continues its buildout and launch throughout the country, now with 25 Cloud Control rooms located in most major US cities. With Cloud Control, MTVG has given its clients remote access to all MTVG production systems without sacrifices. Cloud Control is a complete production system that allows for broadcast level systems, unlimited cameras, SSMO, and even 4K to be controlled remotely with low bandwidth. MTVG’s Edge production sys-

PRG is the world’s leading provider of entertainment and event technology solutions and has the largest inventory of rental production equipment. PRG provides comprehensive and discreet services to an array of clients in the live music, TV/Film, Broadway, sports, gaming, corporate experiential, and live events markets. Clients and partners depend on PRG’s innovation, experience, and depth of experience in audio, video, lighting, rigging, staging, and scenery and automation systems to bring their stories to life. With 70 offices across North America, South America, Europe, Middle East, Asia, and Australia, PRG has capabilities to provide services worldwide.

SPORTS PRODUCTION 2023 YEARBOOK


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CIS CIS Group Group – – production, production, post-production post-production and and archive archive work work ow ow solutions solutions for for sports sports teams, teams, leagues leagues and and broadcasters. broadcasters. SOLUTIONS SOLUTIONS

Live Production Live Production Post-Production Post-Production Multi-platform Distribution Multi-platform Distribution Newsroom Newsroom Work ow Orchestration Work ow Orchestration Content Management Content Management Storage & Archive Storage & Archive Disaster Recovery & Business Continuity Disaster Recovery & Business Continuity Graphics AR & VR Graphics AR & VR Pro Audio - Live & Post Pro Audio - Live & Post 2110 & NDI Infrastructure 2110 & NDI Infrastructure

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Broadcast Services Provider Profiles

Production Rockstars is a boutique production management firm specializing in delivering interpersonal service by producing virtual production and live streaming events, live TV and events, and social/ digital content for our clients. Our work spans across a variety of sectors, from the precision-based detailing in the virtual streaming and corporate world to the fast-paced action of the sports and entertainment industry. Production Rockstars has worked with and for a variety of clients including but not limited to Comedy Central, Netflix, BET Networks, Essence, Tidal, ESPN, Complex, TNT, T-Mobile, Patrón Tequila, the Smithsonian and more. Whether it’s three cameras or thirty, virtual or live, we work hard to make you look and feel like a rockstar from the first pre-production conference to the final deliverable.

Program Productions, North America’s #1 provider of live event labor, is having a big year thanks in part to the innovative labor management platform developed by PPI — ProCrewz. The ProCrewz mobile app, used by more than 10,000 technicians, has been crucial in allowing PPI to cover 25,000 event days in 2022, the most of any North American labor management company. And thanks to features like the Virtual Time Clock and Integrated Calendar, field overtime was reduced by 10% nationally and managing remote broadcast labor was smoother than ever. With the cloud-based ProCrewz mobile app, crew members can view jobs across multiple clients, accept job offers, update their employee profile, submit for expense reimbursement, punch in using the geo-fenced virtual time clock, and so much more. The synced mobile app and client portal allow for streamlined communication between managers and the remote workforce. Integrated with the mobile app, the client portal gives managers and crewers all the tools they need, all in one place. Experience full payroll integration with XLT Management Services or export to your preferred vendor. Seamless, connected and dependable, ProCrewz is the digital evolution of event labor management.

With the largest fleet of transmission vehicles in North America, one of the largest privately-owned teleports in the world and an expert team available 24/7 for events across the globe, PSSI Global Services provides comprehensive event, transmission and connectivity solutions via satellite, fiber, IP, and beyond.

RCS continues to partner with our clients, helping to deliver innovative solutions to their biggest challenges. As the broadcast world migrates to new platforms and workflows, RCS remains at the forefront. Over the last 12 months, we have launched new graphics packages and workflows for DAZN, MLB, UFC, NFL, and SPFL, among others. We’ve delivered new projects using Unreal, Vizrt, XPression, Singular.live, and more. Our clients increasingly require a wider range of support across both hardware, cloud, and hybrid solutions. This has led to the development of solutions like our Cobb control interface; a desktop application that integrates with data sources and triggers graphics across multiple services including both Vizrt and Singular.live. A single operator using a dedicated RCS Cobb interface can now deliver multiple graphic outputs across various graphics platforms enabling highly efficient workflows with scalable, flexible output options.

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RF Wireless has an extensive inventory of broadcast quality microwave and RF audio equipment as well as two-way radio communications equipment, together with all accessories. RF Wireless has many modes of deployment to meet the constantly changing needs of clients large and small. We have solutions that can ship out in an air-pack format all the way up to our fully integrated mobile trailer with mast and generator onboard. Through the provision of personalized service, RF Wireless Systems Inc. ensures client needs are fulfilled in the most efficient and effective manner.

Production industries change and so do innovative companies. Robovision has successfully navigated 30 years of production changes and it continues to position itself at the forefront of remote camera systems, even in a post-pandemic production environment. Robovision has developed custom camera solutions for numerous high profile broadcasts. Our custom turn-key systems are tailored to address specific client needs. The result has been, and will continue to be, nextlevel technical performance from every system we install. Robovision’s Emmy Award-winning personnel are qualified, safety-conscious, skilled technicians capable of collaborating with clients to ensure exceptional results. They are the most experienced camera operators in the world. As a result, Robovision has provided countless clients with the highest possible returns on their investments.

With our fleet of cost-effective, full service, remote-production vehicles, Ross Production Services (RPS) delivers consistent, high-quality video and audio content of sports and other live events. We ensure a predictable production experience and outstanding results—all the time, every time. RPS is a full-service turnkey production company. Our unique partnership with Ross lets us scale up or down for each individual production. All RPS trucks and flypacks feature the most current and innovative Ross products.

With clients that include every major network and sports league, Rush Media Company has a proven track record of producing, packaging, and innovating live television productions at every level. With a fleet of more than 23 mobile production units, offices and facilities located around the country, Rush Media Company is the leader in packaging live events. With 23 production vehicles currently in our fleet, Rush Media Company is uniquely positioned to provide you with the best production vehicle to fit your needs. All of our production vehicles are equipped with state-of-the-art equipment and world class engineers to ensure that your production is delivered with innovation and creativity. Skycam is a leading designer, manufacturer and operator of mobile aerial camera systems. Skycam plays a significant role in changing the way sports are broadcasted in America, appearing at marquee broadcast events such as Super Bowl XXXVII, US Tennis Open, NCAA Final Four, NFL Pro Bowl, Monday Night Football, Sunday Night Football, NCAA College Football.

2022 has been a year of significant investment in personnel and innovation to increase the SOS Global portfolio of services and ultimately provide highly customizable solutions for our client’s needs to


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Broadcast Services Provider Profiles

deliver their events on a global scale successfully. Beijing Olympics, Super Bowl, Wimbledon, French Open, WTA Global Tour, US Men’s National Soccer Team, British Open, LIV Tour, and RBC Canadian Open were all successful sports moments because of the cutting-edge approach that SOS Global brought forth for clients.

We help the world’s leading sports properties tell their stories to the world. We do this by building powerful software, partnering with leading commentators and using our unique commercial insight to allow sports leagues and broadcasters to drive fan engagement and achieve their goals. Our Virtual Commentary Studio and Media Gateway are used to produce and distribute hundreds of sporting events into TVs and mobile phones around the world every week. Our Talent Marketplace supports thousands of professional sports commentators in 50 languages to find work. And sports organizations from World Rugby to DAZN trust us to deliver their content with multi-lingual or influencer commentary.

Our solutions for traditional and converged broadcast infrastructures (ASI) and IP-based workflows cover a whole range of satellite broadcast transmission applications from contribution to exchange and distribution. Our products meet the high operational requirements for professional reliability and service availability.

Suitelife is working with Live Football content to provide MetaData (SCTE, Nielsen Watermarks) Monitor/Record with autonomous notification of loss. We provide secure Multi-stream analysis and display in single ‘pane of glass’.

Super League Gaming builds and operates networks of games, monetization tools and content channels across open-world gaming platforms that empower developers, energize players, and entertain fans. The company’s solutions provide incomparable access to an audience consisting of players in the largest global metaverse environments, fans of hundreds of thousands of gaming influencers, and viewers of gameplay content across major social media and digital video platforms. Fueled by proprietary and patented technology systems, the company’s platform includes access to vibrant in-game communities, a leading metaverse advertising platform, a network of highly viewed channels and original shows on Instagram, TikTok, Snap, YouTube, and Twitch, cloud-based livestream production tools, and an award-winning esports invitational tournament series. Super League’s properties deliver powerful opportunities for brands and advertisers to achieve impactful insights and marketing outcomes with gamers of all ages.

The Famous Group partnered with Major League Baseball this summer to enhance the fan experience at Dodger Stadium and on the FOX broadcast for the 2022 MLB All-Star Game. Using innovative mixed reality technology, The Famous Group conceptualized and executed a stunning tribute to Jackie Robinson that highlighted the remarkable career and legacy of the baseball icon. Occurring just before the first pitch of the Midsummer Classic, Academy Award-winning actor Denzel Washington provided on-field narration for the pregame moment that was shown in stadium and on the broadcast for viewers at home. This activation marked the first time MLB had incorporated the use of mixed reality for the annual game.

Veterans-TV is a nonprofit that offers professional, hands-on TV production and postproduction training to U.S. Veterans. VETV helps veterans start a new career path by teaching them how to use professional-grade equipment so they can apply for entry-level positions at broadcast TV stations. VETV also helps graduates of the program make connections in the broadcast media industry. All equipment is donated by companies in the broadcast media industry and all instructors are volunteers.

VidOvation continues to support the PGA, Bassmaster, Major League Fishing, and other sports leagues with camera-mount bonded cellular field encoder technology to facilitate REMI or At-Home Production. VidOvation’s technology simplifies your workflow and saves costs in live television production, broadcast, distribution, and streaming systems. The sports industry utilizes our At-Home Remote Production solutions to maintain frame-accurate video genlock and seamless lip-sync across many handheld mobile and ENG cameras. In addition, many sports production facilities, including Big Ten Networks, Tennis Channel, Bally Sports, Paramount, and more, use our IPTV and digital signage systems to distribute live television, cable TV, DirecTV, satellite, studio feeds, stage feeds, and digital signage over their corporate networks.

Dedicated to providing successful solutions to its increasingly diverse clientele, VISTA is committed to disruptive innovation in the media industry. For over 30 years VISTA has consistently raised the industry standard by developing value- added services for the media industry, consistently maximizing a client’s reach while effectively offering competitive prices.

Zero Density From the conceptual phase of your project to reality, we have the knowledge, resources, and partnerships to create next-level immersive environments. We’ve worked on projects all over the world, and our technical expertise spans across solutions such as virtual technology, multi-dimensional sound, and the highest quality crystal LED, to name a few. All backed by our team of certified engineers, designers, production partners, and manufacturers that represent the best innovation ecosystem in the industry.

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Zero Density has gone from strength to strength in 2022. After winning a Product of the Year award at NAB, the company previewed several immersive virtual studio and AR/XR graphics products at IBC. These included RealityHub 1.4 — a UI that lets broadcasters control virtual studios from a web browser — and Reality 5, a realtime VR/AR/XR platform based on Unreal Engine 5. Zero Density’s products continued to power several impressive sports broadcasts in the USA. Fox Sports, for instance, leverages a virtual studio powered by Reality to cover the NASCAR season for the last 4 years. Featuring a 50-foot-by-47-foot green screen, the studio gave Fox Sports the ability to shoot 360-degree coverage.




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CINEMATIC LOOK FOR LIVE BROADCASTS

ARRI AMIRA LIVE MULTICAM SYSTEM AMIRA Live brings the immersive world of Cinema Imaging into the multi-camera live experience with shallow depth of field and the ARRI signature look, in a robust, integrated fiber camera system.

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Courtesy of

O

167 Crew Services 172 Generators 180 Mobile Production Units 192 Satellite Trucks

nce again, SVG has partnered with ProductionHUB to publish the most comprehensive directory of Vendor Services for Sports Production. ProductionHUB.com, a respected online resource, lists not only the vendors covered here but also a wealth of other production-services companies who serve producers of sports and other forms of live entertainment. The site is also SVG’s jobs-board partner and provides a valuable tool for freelancers seeking work and for today’s growing number of sports networks and content creators. Be sure to visit ProductionHUB.com for ongoing updates and additions to this list of potential suppliers and service providers.

Vendor Services Directory

Directory

Courtesy of

VENDOR SERVICES

Crew Services STATE

CITY

NAME

WEBSITE

PHONE

ALABAMA ARIZONA

ARKANSAS

Birmingham Chandler Phoenix Phoenix Tucson North Little Rock

https://www.crewsouth.com/ http://www.marzmotion.com/ https://bbptv.com/ http://www.crewwestinc.com/sat-west/ https://www.crew4u.com/ https://www.filmgearrentals.com/

(205) 862-4271 (602) 377-2514 (602) 321-0398 (888) 444-2739 (520) 751-4070 (501) 920-3392

CALIFORNIA

Beverly Hills

Crewsouth MarzMotion Burke Brothers Productions LLC Crew West, Inc. Crew 4-U Video & Film Film Gear Rentals Snakebyte Productions and Entertainment Group, LLC H.U.M.ovies Broadcast Management Group WCB Films Crystal Pyramid Productions Assignment Desk, Inc. Branded Content Media Think Out Loud Studio Mr. & Mrs. Clean Up Cleaning Services FastLights.com - Hartford, CT FastLights.com - Stamford, CT Rob Fortunato Photography, LLC Skystorm Productions David Waters Productions, LLC Chroma House Productions Stonehenge Circle RISE NEWS Brand Studio Tartarus Creative Brain Lab Launch! ProductionHUB Production Management Florida Office of Film and Entertainment True Action Sports Coordinators LLC Beverly Boy Productions Atlanta, GA

http://www.snakebyteproductions.com

(855) 228-6478

humovies.co https://www.broadcastmgmt.com/ www.wcbfilms.com http://www.crystalpyramid.com/ http://www.assignmentdesk.com/ https://www.brandedcontentmedia.com/ www.thinkoutloud.studio

(212) 380-7355 (866) 494-1208 (954) 298-4401 (619) 644-3000 (800) 959-3375 (949) 205-9980 (818) 486-0478

WWW.MRANDMRSCLEANUP.COM

(818) 664-9528

www.FastLights.com/ph http://www.fastlights.com/ph

(855) 922-5600 (855) 922-5600

www.robfortunato.com

(401) 338-8780

https://skystorm.com/ https://davidwatersproductions.com www.chromahouse.com www.stonehengecircle.com www.risenewsbrandstudio.com www.tcbrainlab.com https://thelaunchgroup.com/

(407) 328-4747 (321) 525-1290 (305) 776-6020 (786) 333-3571 (305) 968-5514 (954) 391-2327 (407) 515-2161

https://www.productionhub.com/full-service-crewing

(877) 629-4122

https://filminflorida.com/

(850) 717-8990

https://trueactionsports.com/

(979) 574-6827

https://www.beverlyboy.com/locations/ga/atlanta-videoproduction-company/

(404) 474-3823

Culver City Los Angeles Los Angeles San Diego San Francisco San Francisco San Francisco Santa Clarita CONNECTICUT DISTRICT OF COLUMBIA FLORIDA

Hartford Stamford Washington Lake Mary Melbourne Miami Miami North Miami North Miami Orlando Orlando Tallahassee

GEORGIA

Alpharetta Atlanta

SPORTS PRODUCTION 2023 YEARBOOK

167


bMR

For sports, and news broadcasters who want to deploy an Unreal-based graphics solution for driving an LED virtual studio with integrated 2D/3D on-air graphics under MOS/NRCS control

MoRail

A high-performance motorized rail enabling cost-effective creative PTZ / ENG camera movement within regular or virtual newsroom studios with tracked Unreal graphics

mo-sys.com info@mo-sys.com


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BitFire Studios XR LED volume stage or green screen cyc stage create immersive virtual worlds without ever leaving Phoenix, AZ. A fully capable control room is available for live productions.

BitFire Remote Production Multiple REMI control rooms and a suite of innovative remote production tools provide the creative freedom to produce content without compromise.

(534)-BITFIRE BitFire.tv


Transform your ideas into engaging content

When thinking about Virtual Production, Brainstorm is the way to go. With decades of experience in realtime 3D graphics, virtual sets and AR solutions, now Brainstorm products are perfect to cope with any kind of Virtual Production requirement you may have for your content creation. From inexpensive, template-based immersive content using Edison PRO, to advanced projects involving XR, AR, and Virtual Sets using Unreal Engine 5 created with InfinitySet, Brainstorm provides any content creator with the perfect tools for the job. And if you need to add motion graphics, Aston is the designers’ choice to create the most advanced data-driven content, even linking to external data sources.

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contact@brainstorm3d.com

@brainstorm3d

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AZZURRO CAM Transforming Home Space to Broadcast Studios

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Visit our new website www.azzurrohd.com Contact us at sales@azzurrohd.com Network Operations Center 212-625-2064


Crew Services STATE

CITY

Vendor Services Directory

Courtesy of

GEORGIA

Atlanta Atlanta Atlanta Atlanta Lawrenceville IDAHO Nampa ILLINOIS Carol Stream Chicago Chicago Grayslake Lombard MAINE Portland MASSACHUSETTS Boston Hudson Newton Randolph MISSOURI Brentwood NEVADA Las Vegas Las Vegas Las Vegas Las Vegas Las Vegas NEW HAMPSHIRE Concord NEW JERSEY NEW YORK

Newark Albany Baldwin Brooklyn Buffalo New York New York New York New York New York New York

NORTH CAROLINA Charlotte OKLAHOMA OREGON

PENNSYLVANIA RHODE ISLAND

Wake Forest Oklahoma City Portland Portland Clifton Heights Conshohocken Providence

SOUTH CAROLINA Charleston TEXAS Austin Mcallen UTAH Salt Lake City VERMONT Burlington WASHINGTON Seattle WISCONSIN Madison Madison

NAME

WEBSITE

PHONE

CineAstra LOCAL Sojourn Curated Rentals Swirl Films / Rentals Lark Media Chris Wade Media Visions of Light Chicago Broadcast Management Group Complete Crewing Clarion - Chicago Program Productions FastLights.com - Portland, ME FastLights.com - Boston, MA StoneMedia Productions Green Line Group PixMix Video Services DreamWelder Productions LLC Avenger Productions, Inc. Broadcast Management Group Carafelli Productions JCS Broadcast Video Productions Kathy McKee Casting FastLights.com - New Hampshire FastLights.com - Newark, NJ FastLights.com - Albany, NY Flypack New York, Inc. FastLights.com - Brooklyn, NY Odessa Pictures, Inc. Atlantic Television Broadcast Management Group Filmwerk Media NBTV Studios New York Video Crews Placemakr Beverly Boy Productions - North Carolina ClaryComm Oklahoma Film Commission Doug Birnbaum Photography Picture This Production Services TheCrewStore Wonderful Machine FastLights.com - Providence, Rhode Island Go To Team Lefler Locations LLC - Austin Rio Films Redman Movies and Stories FastLights.com - Burlington, VT LDM Worldwide Productions Grassland Media, Inc. Shaman LLC

cineastra.com https://www.staylocalatl.com sojournatlanta.com www.swirlfilms.com larkmedia.co www.chriswademedia.com www.visionsoflight.com https://www.broadcastmgmt.com/ http://www.completecrewing.com/ https://programproductions.com/ www.FastLights.com/ph http://www.fastlights.com/ph www.stonemediapros.com www.glgtv.com http://www.pixmix.net www.dreamwelder.com http://www.avengerproductions.com/ https://www.broadcastmgmt.com/ http://www.carafelliproductions.com/

(770) 876-9383 (470) 344-5860 (404) 299-9856 (404) 228-6938 (678) 770-5382 (208) 850-0400 (312) 829-8244 (866) 494-1208 (773) 645-2000 (847) 543-1188 (630) 792-9700 (855) 922-5600 (855) 922-5600 (978) 568-1200 (617) 663-5240 (617) 901-7157 (314) 397-4565 (702) 290-9212 (866) 494-1208 (702) 525-1129

http://jcsvideo.com/

(800) 791-8671

http://www.kathymckeecasting.com

(702) 904-1211

http://www.fastlights.com/ph

(855) 922-5600

http://www.fastlights.com/ph www.fastlights.com/ph https://www.flypackny.com/ www.FastLights.com/ph http://www.odessapictures.com/ www.atlantictv.com https://www.broadcastmgmt.com/ www.filmwerk.tv http://www.nbtvinc.com/ www.newyorkvideocrews.com https://www.placemakr.com https://beverlyboy.com/locations/nc/charlotte-videoproduction-company/ https://www.clarycomm.net https://www.ok.gov/oklahomafilm/ www.DougBirnbaum.com www.pixthis.com https://www.thecrewstore.com/ www.wonderfulmachine.com

(855) 922-5600 (855) 922-5600 (516) 867-7300 (855) 922-5600 (716) 316-6710 (212) 625-9327 (866) 494-1208 (212) 645-6668 (646) 277-4900 (888) 858-8625 (646) 770-7960

http://www.fastlights.com/ph

(855) 922-5600

http://gototeam.com/ https://www.leflerlocations.com/ riofilms.tv www.redmanmovies.com www.fastlights.com/ph www.ldmworldwide.com http://grasslandmedia.com/ www.shamanmotion.com

(843) 884-6222 (239) 537-5296 (713) 269-6433 (801) 978-9292 (855) 922-5600 (206) 463-1902 (608) 238-7575 (608) 316-5510

(704) 230-1080 (919) 904-6097 (918) 645-0127 (949) 205-9980 (503) 235-3456 (484) 688-1200 (610) 260-0200

Generators STATE

CITY

NAME

URL

PHONE

ARIZONA

Mesa Phoenix Phoenix Tucson Mena North Little Rock North Little Rock

Sound Lighting F/X Reel Men United Rentals - Phoenix H & E Equipment Services Laark Honeywagons Event Power Film Gear Rentals

www.soundlightingfx.com https://reelmen.com/ www.ur.com www.he-equipment.com www.laarkhoneywagons.com eventpowerpro.com/ https://www.filmgearrentals.com/

(602) 722-0783 (602) 286-6800 (623) 850-5100 (520) 770-1120 (818) 516-6474 (501) 351-5837 (501) 920-3392

ARKANSAS

172

SPORTS PRODUCTION 2023 YEARBOOK

*All information is subject to change. For the most current contact information, please visit www.productionhub.com




Allied Broadcast Group is Your Ally and Partner for

PROFESSIONAL VIDEO GEAR

NEW & USED EQUIPMENT

EQUIPMENT RENTALS

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Allied Broadcast Group is a full line dealer of new and used professional broadcast video production equipment. With 30+ years of experience in the industry buying and selling new and used production equipment, Allied Broadcast Group knows the market! Let a professional help you sell your equipment and take the hassle out of the process. Whether it’s one item or many items, our marketing and advertising will gain you exposure to thousands of industry professionals.

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Generators CITY

NAME

URL

PHONE

Burbank Burbank Burbank Calabasas Carson Chatsworth Compton Culver City

AC Power Distribution, Inc. Skye Rentals United Rentals - Burbank Studio Air Conditioning Rentals Multiquip Inc. Cinerep International, Inc. CAT Entertainment Services La Brea Air, Inc. Light It Up - Gear & Truck Rental Aggreko SAS Rentals Star Power Generators Location Air Temp Power Systems Top Productions Andrus Lighting and Grip Illumination Dynamics Cresco Production Express DADCO, LLC Hollywood Rentals - Los Angeles Lighting Services Inc. Command Corp EmPower Corporation Garrett Sound & Lighting Production Power & Air Production Toolbox Services Americas Generators Megawattage CAT Entertainment Services First Call Location Coach Rentals Hollywood Rentals - Orlando First Unit Production Services CAT Entertainment Services BigCity Leasing & Production Equipment, LLC Herc Rentals Universal Production Services - Atlanta Ross SysCon Visions of Light Chicago Universal Production Services - Chicago Hammer Lighting & Grip Gull Wing Industries, Inc. Musco Lighting Prime Light, Inc. Digital FX, Inc. Available Lighting Inc. Center Staging, Inc. Nola Film Logistics, LLC Silver Screen Supply FastLights.com - Boston, MA

www.acpowerdistribution.com www.skyerentals.com www.ur.com www.studioairconditioning.com www.multiquip.com www.cinerepamps.com es-cat.com/ www.labrearentals.com

(818) 848-4004 (323) 462-5934 (818) 842-5288 (818) 222-4143 (800) 421-1244 (818) 882-2677 (866) 762-5228 (800) 452-2732

www.LightitupLA.com

(818) 679-4321

https://www.aggreko.com/en-us sasrentals.com https://www.starpowergenerators.com/ www.locationair.tv www.temppower.com www.top-productions.com http://www.andruslighting.com/Andrus_Grip/crew.html www.illuminationdynamics.com www.crescorent.com http://www.dadcopowerandlights.com/ http://www.hollywoodrentals.com http://www.lsidenver.com cmnd.com http://empowergenerators.net www.garrettsound.com www.productionpowerandair.com productiontoolbox.com/ gopower.com www.megawattage.com es-cat.com/

(770) 315-9879 (310) 461-9253 (818) 982-2200 (855) 444-4757 (800) 748-6997 (415) 332-3005 (619) 521-0585 (818) 686-6400 (800) 649-6629 (818) 768-8886 (800) 233-7830 (303) 722-4747 (727) 560-0134 (954) 922-3800 (954) 777-3277 (954) 739-2468 (954) 463-4820 (800) 434-0003 (954) 302-3565 (877) 228-2852

www.firstcallcoach.com

(407) 832-2606

http://www.hollywoodrentals.com firstunit.com es-cat.com

(407) 852-0164 (727) 522-2203 (877) 228-2852

www.bigcityleasing.com

(678) 922-2490

https://www.hercrentals.com/us.html

(678) 848-5996

universalproductionservices.com

(404) 662-4035

www.rosssyscon.com www.visionsoflight.com

(912) 238-5800 (312) 829-8244

universalproductionservices.com

(773) 542-1002

www.hammergrip.tv www.gull-wing.com www.musco.com www.paddock.com/primelight www.digitalfx.tv www.availablelighting.com www.centerstaging.net www.nolafl.com www.silverscreensupplies.com http://www.fastlights.com/ph http://content.nestudios.com/film-nestudios?utm_ campaign=Variety411&utm_medium=Profile&utm_ source=Production%20Hub www.equipment4rent.net www.kayelites.com www.michigancrane.com

(317) 547-4747 (800) 838-1482 (800) 825-6030 (913) 226-0849 (888) 898-6010 (504) 831-5214 (504) 247-0020 (504) 309-6612 (504) 737-0555 (855) 922-5600

www.broadwayrental.com

(763) 533-1680

deancat.com www.ckpower.com www.ur.com www.riscorv.com

(816) 200-5470 (314) 868-8620 (775) 348-0140 (732) 872-7722

Vendor Services Directory

Courtesy of

STATE CALIFORNIA

Granada Hills

COLORADO FLORIDA

Los Angeles Los Angeles North Hollywood Paramount Placentia Richmond San Diego San Fernando San Francisco Sun Valley Sylmar Littleton Clearwater Dania Fort Lauderdale Fort Lauderdale Fort Lauderdale Miami Miami Orlando Orlando Orlando Pinellas Park St. Augustine

GEORGIA

Atlanta Atlanta Atlanta

ILLINOIS

Savannah Carol Stream

Chicago INDIANA IOWA

Indianapolis Alta Oskaloosa KANSAS Overland Park LOUISIANA Baton Rouge New Orleans New Orleans New Orleans New Orleans MASSACHUSETTS Boston Devens

New England Studios

MICHIGAN

West Bridgewater Woburn Detroit

MINNESOTA

Brooklyn Park

MISSOURI

Kansas City St. Louis Reno Farmingdale

Equipment 4 Rent Kaye Lites, Inc. Great Lakes Michigan Crane Broadway Rental Equipment Company Dean Machinery Co. CK Power Products United Rentals - Reno Risco Inc.

NEVADA NEW JERSEY

176

SPORTS PRODUCTION 2023 YEARBOOK

(978) 615-5500 (508) 583-5500 (781) 932-0005 (313) 365-1800

*All information is subject to change. For the most current contact information, please visit www.productionhub.com



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Vendor Services Directory

Courtesy of

Generators STATE

CITY

NAME

URL

PHONE

NEW JERSEY

Piscataway South Plainfield

es-cat.com/ www.sbp4juice.com/

(908) 272-8400 (908) 412-8630

NEW MEXICO

Albuquerque

CAT Entertainment Services SBP Industries Universal Production Services New Mexico Serious Grippage & Light Company Cinelease Studios RANTECH, Inc. On Site Energy Available Light Silvertrucks Lighting Universal Production Services Long Island City, NY Stark Lighting & Generator PartyTime Rentals Scheimpflüg Cooke Rentals Inc. Peterson Caterpillar Gaffer Baron Ltd CAT Entertainment Services CAT Entertainment Services High Output, Inc. - Charleston Neff Rental Cine Power Systems The Smoky Mountain Grip & Lighting Co. Nashville Lighting & Grip, Inc. Sunbelt Rentals Pump & Power Services Saunders Electric Companies CAT Entertainment Services Juice Goose / Whitenton Industries MC Lighting & Production Services Panavision - Dallas Burrell Enterprises, Inc. NRG Systems, Inc. Carnage Brothers Grip & Electric Temp Power Pacific Grip & Lighting - Seattle Shutterworks Rentals Spokane

universalproductionservices.com

(505) 521-5676

www.seriousgrippage.com

(505) 473-1566

https://cinelease.com/studios/cinelease-studios-brooklyn/ www.OneStopSurplus.com www.onsite-energy.com www.alny.net https://www.silvercupstudios.com/silvertrucks-info

(718) 970-0854 (631) 983-8408 (800) 736-2504 (718) 707-9670 (718) 906-3045

universalproductionservices.com

(646) 762-5880

www.starklighting.com https://partytime-rentals.com/ https://www.scheimpflug.com/ https://www.cookerentals.com/ https://www.petersoncat.com/ www.gafferbaron.com es-cat.com/ www.es-cat.com http://www.highoutput.com/locations/charleston/ www.neffrental.com

(347) 538-6501 (845) 226-2447 (212) 244-8300 (704) 483-2722 (888) 738-3776 (610) 449-6550 (401) 845-2281 (888) 296-4492 (781) 364-1800 (843) 760-6333 (615) 521-6857

www.smokymtngrip.com

(865) 947-5483

http://www.nashvillegrip.com

(615) 678-2727

www.sunbeltrentals.com

(800) 667-9328

http://www.saunderselectric.com es-cat.com/

(270) 535-6336 (214) 638-1400

www.juicegoose.com

(713) 772-1404

www.mclighting.com

(713) 723-1393

www.panavision.com www.litepower.com www.nrgsystems.com

(972) 929-8585 (972) 475-8111 (802) 482-2255

carnagebrothers.com

(703) 824-8389

www.temp-power.net http://www.pacific-grip.com/ www.shutterworksrentals.com

(703) 330-3663 (206) 622-8540 (509) 720-8162

Santa Fe NEW YORK

Brooklyn Deer Park Hicksville Long Island City Long Island City Long Island City

New Paltz Poughquag New York NORTH CAROLINA Denver OREGON Portland PENNSYLVANIA Havertown RHODE ISLAND North Kingstown North Kingstown SOUTH CAROLINA Charleston Charleston TENNESSEE Franklin Knoxville Nashville Nashville TEXAS

Nolensville Dallas Houston Houston

VIRGINIA

Falls Church

WASHINGTON

Manassas Seattle Spokane

VERMONT

Irving Rowlett Hinesburg

Mobile Production Units STATE

CITY

NAME

ALABAMA ARIZONA

Spanish Fort Mesa Phoenix

AVS Media Group RV Rental Outlet Cox Studios- Phoenix FLOODstream - Mobile Broadcast & Webcast Production Skyline Productions, Inc. Hailstone Creek Productions Jones Mobile Television Clark’s Video Group, Inc. Touring Video, Inc. Cinerep International, Inc. E-N-G Mobile Systems, Inc. 090 Media Thunder Studios Champion Site + Sound Global Link Productions, Inc. MS Production Services

Phoenix ARKANSAS CALIFORNIA

180

Phoenix Little Rock North Little Rock Rogers Burbank Chatsworth Concord La Jolla Long Beach Los Angeles Morgan Hill Ripon

SPORTS PRODUCTION 2023 YEARBOOK

WEBSITE

PHONE

www.avsmediagroup.com www.rvrentaloutlet.com www.coxcreativestudios.com

(251) 621-1200 (480) 461-0023 (623) 328-4778

http://www.floodstream.com

(480) 535-5002

www.skylinevideo.com www.hailstonecreek.com www.jmtv.com www.clarksvideogroup.com http://www.touringvideo.com/ www.cinerepamps.com https://www.e-n-g.com/ http://www.090.media/ https://www.thunderstudios.com www.champion.biz http://www.globalinktv.com/ http://www.mspslive.net/

(480) 345-8009 (501) 371-9515 (501) 376-1993 (479) 636-7111 (818) 504-3500 (818) 882-2677 (800) 662-4522 (858) 324-5500 (323) 647-7557 (323) 850-4990 (408) 465-2787 (877) 354-6777

*All information is subject to change. For the most current contact information, please visit www.productionhub.com



VIDEO CAPTURE AND DIGITAL DELIVERY

No other Immersive System in the world is doing what C360 does. C360 captures a huge field of view - LIVE, allowing broadcasters to re-frame content and create the most meaningful and important replays. This same video is sent digitally to an infinite number of end users where they, too, can control their own immersive experience. Our immersive systems go places where no others can — bringing leagues, rights-holders and literally everyone closer to the biggest plays. And humans are not required — C360 uses league provided tracking data to automatically track players, pucks, and balls. With AUTO-ISO C360 has the ability to provide discreet video of every player in the game for LIVE and REPLAY.

BROADCAST PRODUCTION

D2C / OTT

GAME MANAGEMENT

C360 Technologies, Inc. is a computer vision SaaS company that provides solutions to broadcasters and sports leagues racing to capture D2C (Direct-to-Consumer) OTT (Over-the-Top Streaming) market share.

Contact Us: C360live.com


High quality B4B customer service is our passion.

CP Communications provides innovative solutions for broadcasting and streaming live events.

info@cpcomms.com | (800) 762-4254 | www.cpcomms.com


Mobile Production Units STATE

CITY

NAME

CALIFORNIA

San Diego

https://sdtv.com/

(619) 293-7777

www.crescorent.com http://takeitlive.com https://mobeon.com/ www.digitalmedia.tv http://www.streamingmedialive.com www.pacificobroadcast.com www.bigfootmobilecarts.com

(800) 649-6629 (818) 271-7949 (888) 789-2463 (818) 974-4000 (818) 974-4000 (310) 497-4226 (707) 602-5548

www.pssiglobal.com

(310) 575-4400

www.unisatmobile.com

(562) 483-4800

Denver Denver Parker East Windsor Suffield

Satellite Digital Teleproductions (SDTV) Cresco Production Express TAKEITLIVE MEDIA Mobeon Digital Media Group, Inc. Streaming Media Live Pacifico Television Engineering Bigfoot Mobile Systems PSSI Global Services - Strategic Television UniSat - Universal Satellite Communications Base Camp RMD Mobile HD Loclyz Media Services Jx2 Productions VideoPort Communications, Inc.

www.bvsecvmp.com www.rmdhd.com http://www.loclyz.com www.jx2productions.com www.videoportc.com

(303) 921-9511 (720) 259-2277 (720) 452-2361 (413) 736-6300 (413) 478-1745

Washington

Skehan Communications, LLC

http://www.skehan.com/

(202) 833-3310

Washington

https://www.streambyte.tv

(267) 218-1004

Boca Raton Cape Canaveral Clearwater Clearwater Fort Lauderdale Lake Mary Miami Miami Miami Miami Miami Miami Miramar Orlando Pompano Beach

StreamByte TV Event Webcasting Washington DC Mobile Studios, Inc. Communications Concepts Inc. F & F Productions, LLC Oshkosh Specialty Vehicles MSR Mobile Stage Rentals Skystorm Productions Blue Dolphin Studios Christian Media Group Mediapro Miami Production Trailers MMC Video Corp. Virtual Events, LLC. Poli Productions First Call Location Coach Rentals Broadcast Beat Studios

(561) 372-0604 (321) 783-5232 (727) 530-5000 (727) 573-0400 (800) 267-8243 (407) 328-4747 (305) 887-7726 (786) 286-4942 (305) 357-6000 (954) 681-6544 (305) 300-8976 (833) 847-8383 (305) 215-0080 (407) 832-2606 (754) 238-3200

Tampa

FlyMotion Media

Zephyrhills Atlanta Atlanta Lawrenceville Hawi Honolulu Mililani Chicago Chicago Morton Tinley Park Granger

Class Act Rv Encompass Digital Media KEF Media Associates, Inc. Lightnin’ Production Rentals, Inc Keith Nealy Productions John Guild Communications Ron Eggleton CVM Productions, Inc. SOS Productions Chicago ScheffTech Productions, LLC Digital Impact Video, LLC CVM Productions, Inc. WIPB Productions / University Media Services Ball State University LeSEA Productions Satellite Center YES Productions ShowCase Video CSP Mobile Productions Sheffield Audio Video Productions PixMix Video Services Deadly Spider Productions Inc. Remote Facilities Consulting Services Inc. Moonlink Satellite, Inc. Detroit Public Television CTN Studios

http://www.mobilestudios.com/ http://cci321.com www.fandfhd.tv www.oshkoshsv.com/ www.mobilestagerentals.com https://skystorm.com/ http://cinematusa.com/studios http://christianmediagroup.squarespace.com/ https://mediaprous.tv/ https://www.miamiproductiontrailers.com/ www.mmcvideocorp.com https://virtualevents.llc/ https://www.poliproductions.tv/ www.firstcallcoach.com http://www.broadcastbeatstudios.com www.flymotionmedia.com (media division) www. flymotionus.com (unmanned systems division) www.classactrv.com www.encompass.tv www.kefmedia.com www.lightnin.net www.keithnealy.com www.john-guild.com www.xleggs.com http://www.cvmproductions.com/ www.sosproductionschicago.com www.schefftech.com http://www.digitalimpactvideo.com http://www.cvmproductions.com/ https://www.wipb.org/

(765) 285-1249

www.leseaproductions.com www.satctr.com https://www.yesproductions.com/ http://www.showcasevp.com/ www.cspmobile.com www.sheffieldav.com http://www.pixmix.net www.DeadlySpider.com

(574) 291-8200 (504) 915-8244 (504) 486-5511 (318) 398-0748 (207) 282-9680 (800) 355-6613 (617) 901-7157 (401) 447-5254

http://www.remotefacilities.com/

(781) 246-8300

www.moonlinksat.com http://www.dptv.org/about/production-services/ www.ctnstudios.com

(586) 323-9590 (248) 305-3827 (763) 767-6525

Vendor Services Directory

Courtesy of

San Francisco Santa Clarita Santa Monica Studio City Studio City Sun Valley Vacaville Van Nuys Van Nuys COLORADO CONNECTICUT DISTRICT OF COLUMBIA FLORIDA

GEORGIA HAWAII ILLINOIS

INDIANA

Muncie South Bend New Orleans New Orleans West Monroe MAINE Saco MARYLAND Phoenix MASSACHUSETTS Randolph Sutton LOUISIANA

Wakefield MICHIGAN MINNESOTA

184

Sterling Heights Wixom Coon Rapids

SPORTS PRODUCTION 2023 YEARBOOK

URL

PHONE

(800) 548-5844 (614) 783-0052 (678) 421-6834 (404) 605-0009 (770) 963-1234 (808) 882-7772 (808) 596-2211 (360) 790-1459 (574) 256-0068 (269) 313-1645 (309) 524-5865 (708) 606-2310 (574) 256-0068

*All information is subject to change. For the most current contact information, please visit www.productionhub.com


GAME ON. Count on Alpha for end-to-end experiences that engage fans, drive revenue, and boost franchise value. Some of sports’ most storied teams up their game with Alpha production, presentation and IPTV technology solutions. Combining the latest technology with incomparable systems documentation and training, we’re the same Alpha you’ve always known – now with a fresh new look to communicate our leading-edge expertise in bringing fans to their feet. Tell us about the experience you want to provide. And see how we make your vision possible.

Learn more about our solutions and projects www.AlphaX.us



FLETCHER

SPECIALTY CAPTURE FOR SPORTS & TELEVISION

630.537.9920 | fletch.com


Courtesy of

Mobile Production Units STATE

CITY

NAME

WEBSITE

PHONE

MINNESOTA MONTANA

White Bear Lake Helena

www.arcteksat.com http://lyongroup.biz/content/

(612) 623-1986 (406) 442-9014

NEVADA

Las Vegas

ARCTEK Satellite Productions Lyon Productions FLOODstream - Mobile Broadcast & Webcast in Las Vegas Game Creek Video Thistle Communications Metrovision Production Group Total Media Productions (formerly Remote Digital Media) Patchamp Jim Houston Productions Inc. Flypack New York, Inc. Admiral Video - InMotion HD Interface Communications Flight 9 Satellite Services StreamByte TV Event Webcasting New York City All Mobile Video Cinedeck KoKo - Baz Video & Film Touchdown Productions Zircon Production Vehicles High Rock Mobile Television Control 1 Communications The Production Group LLC Dynamic Video Group - Live Streaming for North Carolina (On location & Studio) 7 Cinematics CVM Productions, Inc. Lyon Video Mobile Production Services Allied Broadcast Group LeSEA Productions J A Taylor & Associates Triode Media Group LTD CCI Communications StreamByte TV Event Webcasting Philadelphia NEP Viewpoint Production Services, Inc. PMTV - Broadcast, Production, Streaming Worldwide Video One Productions Inc. Camp Digital Stokes Production Services High End TV Tennessee Digital Video GoVision Earl Miller Productions Inc. Bounce Multimedia Texas TV Trucks Tricam Video Productions, Inc. Advanced Containment Systems Inc. Satellite Center Stage2screenProductions Cis Com Digital Media Doug Johnson Productions Gunner Live LLC Videolines Mobile Television Moon Bounce Media LDM Worldwide Productions Link Up Communications, LLC Token Creek Mobile Television, Inc.

http://www.floodstream.com

(702) 577-3300

www.gamecreekvideo.com www.thistlecommunications.net https://www.metrovision.tv/

(603) 882-5222 (603) 598-5100 (212) 989-1515

http://www.total-media.com/

(973) 800-8387

https://patchamp.com/ www.jimhouston1.com https://www.flypackny.com/ www.PylonCam.com https://www.interfacetv.com/ www.flight9.com

(201) 457-1504 (201) 788-7096 (516) 867-7300 (716) 651-9900 (718) 463-8700 (888) 354-4489

https://www.streambyte.tv

(267) 218-1004

http://www.allmobilevideo.com https://cinedeck.com/ www.kokobaz.com www.touchdown-productions.com www.ZirconProductionVehicles.com https://www.highrockmobiletelevision.com control1comm.com https://theproductiongroup.com/

(212) 727-1234 (888) 490-3360 (212) 674-6601 (917) 746-6240 (888) 675-9995 (518) 584-9181 (205) 706-9524 (704) 333-2595

www.DynamicVideoGroup.com

(800) 930-0962

http://7cinematics.com http://www.cvmproductions.com/ www.lyonvideo.com www.remoteriley.com https://alliedbroadcastgroup.com/ www.leseaproductions.com/ www.broadcastassociates.com www.triode.tv www.ccimobileproduction.com

(843) 754-0516 (574) 256-0068 (614) 297-0001 (614) 864-7900 (918) 250-5353 (918) 254-4701 (610) 754-6800 (717) 413-2533 (610) 836-1355

https://www.streambyte.tv

(267) 218-1004

www.nepinc.com www.viewpoint.tv

(855) 735-4310 (800) 820-0402

www.PMTV.com

(610) 768-1770

www.vopinc.com www.campdigital.net www.stokesvideo.com www.highendtv.com www.tndv.com www.anc.com www.earlmillerproductions.com www.bouncemultimedia.com http://andrews-media.com/ www.tricamvideo.com www.acsi-us.com www.satctr.com

(615) 859-1521 (615) 826-0122 (615) 822-6500 (615) 346-9545 (615) 585-6528 (940) 464-2320 (512) 458-4343 (409) 860-5551 (972) 570-1118 (817) 909-4137 (713) 987-0336 (504) 915-8244 (281) 804-9525 (435) 757-6889 (801) 396-9938 (678) 313-6001 (801) 580-9474 (540) 327-1572 (206) 463-1902 (414) 453-8785 (608) 849-4965

NEW HAMPSHIRE Hudson Pelham NEW JERSEY Carlstadt

Vendor Services Directory

Carlstadt

NEW YORK

Hackensack Ramsey Baldwin Buffalo Flushing New City New City

New York New York New York New York New York Saratoga Springs NORTH CAROLINA Charlotte Charlotte Durham OHIO OKLAHOMA PENNSYLVANIA

Greensboro Cincinnati Columbus Columbus Broken Arrow Tulsa Boyertown Lancaster Malvern Philadelphia Pittsburgh Pittsburgh West Chester

TENNESSEE

TEXAS

UTAH

VIRGINIA WASHINGTON WISCONSIN

188

Goodlettsville Hendersonville Hendersonville Nashville Nashville Argyle Austin Beaumont Dallas Grapevine Houston Houston Missouri City Logan Orem Park City Sandy Purcellville Seattle Milwaukee Waunakee

SPORTS PRODUCTION 2023 YEARBOOK

www.cis-com.com https://www.djprod.biz www.gunnerlive.com http://www.videolinestv.com/ www.moonbouncemedia.com www.ldmworldwide.com www.linkupcom.com www.tokencreek.com

*All information is subject to change. For the most current contact information, please visit www.productionhub.com


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Our work tells your story.

HLW’s media and entertainment practice designs facilities that support the creation of advanced sports, film, television, and new media content. To learn more contact Keith Hanadel Principal, Media & Entertainment khanadel@hlw.com

www.hlw.design



Satellite Trucks STATE

CITY

Vendor Services Directory

Courtesy of

ALASKA ARIZONA

Anchorage Phoenix Phoenix CALIFORNIA Calabasas Concord Morgan Hill Oakland Santa Barbara Santa Barbara Santa Rosa Studio City COLORADO Denver New Castle FLORIDA Clearwater Orlando Orlando HAWAII Honolulu ILLINOIS Crystal Lake INDIANA South Bend KANSAS Shawnee LOUISIANA New Orleans MARYLAND Potomac MASSACHUSETTS Bedford Wakefield MICHIGAN MINNESOTA

Sterling Heights Minneapolis St. Paul White Bear Lake MONTANA Helena NEVADA Las Vegas NEW HAMPSHIRE Pelham NEW JERSEY Carlstadt Old Bridge NEW YORK

Flushing New City

New City West Babylon NORTH CAROLINA Charlotte Wake Forest OHIO Youngstown PENNSYLVANIA Boyertown Malvern Philadelphia West Chester TENNESSEE TEXAS UTAH VIRGINIA WASHINGTON WEST VIRGINIA

192

Nashville Nashville Dallas Dallas Park City Purcellville Ridgefield Charleston

NAME

WEBSITE

PHONE

CBTV LLC Crew West, Inc. Crew West, Inc. Coastal Media Group E-N-G Mobile Systems, Inc. Global Link Productions, Inc. Central Coast Uplink CBTV LLC Rough House Productions LLC Brown Pelican WiFi Streaming Media Live ISPN Peak Uplink F & F Productions, LLC Lowery Satellite Services Inc. Telepoint Studios CBTV LLC Satellite Technology Systems LeSEA Productions Satellite Engineering Group LeSEA Productions Asia Broadcast Satellite Polatis, Inc. Remote Facilities Consulting Services Inc. Moonlink Satellite, Inc. RumJungle Media Ingwell Communications ARCTEK Satellite Productions Lyon Productions CoverEDGE Las Vegas Thistle Communications Metrovision Production Group Fulton Production and Consulting Interface Communications Flight 9 Satellite Services StreamByte TV Event Webcasting - New York City Village Video News Control 1 Communications ClaryComm First Call UPLinks J A Taylor & Associates Liberty Uplink, Inc. StreamByte TV Event Webcasting - Philadelphia PMTV - Broadcast, Production, Streaming Worldwide Live Mobile Group Skyway Studios Star Video Productions Texas TV Trucks Gunner Live LLC Moon Bounce Media Wild Hare Satellite, Inc. The Media Center

www.advancedbandwidth.com www.crewwestinc.com http://www.crewwestinc.com/sat-west/ www.coastalmediagroup.com https://www.e-n-g.com/ http://www.globalinktv.com/ www.centralcoastuplink.com www.cbtvhd.com www.roughhousehd.com http://www.streamingmedialive.com http://ispn.tv https://peakuplink.com/ www.fandfhd.tv lowerysatellite.com www.Telepointstudios.com www.cbtvhd.com http://stslivetv.com/ www.leseaproductions.com www.sateng.com www.leseaproductions.com https://www.absatellite.com www.polatis.com

(617) 850-5940 (888) 444-2739 (888) 444-2739 (818) 880-9800 (800) 662-4522 (408) 465-2787 (831) 325-5271 (617) 850-5940 (800) 626-2490 (855) 235-9434 (818) 974-4000 (303) 562-6277 (970) 984-9765 (727) 530-5000 (407) 859-7940 (407) 859-7940 (617) 850-5940 (800) 838-1472 (574) 291-8200 (800) 932-1555 (504) 681-0120 (301) 605-7629 (844) 765-2847

http://www.remotefacilities.com/

(781) 246-8300

www.moonlinksat.com http://www.rumjungle.com http://ingwellcommunications.com/services.html www.arcteksat.com http://lyongroup.biz/content/ http://www.coveredge.com/ www.thistlecommunications.net https://www.metrovision.tv/

(586) 323-9590 (952) 472-5525 (612) 839-5154 (612) 623-1986 (406) 442-9014 (800) 822-6397 (603) 598-5100 (212) 989-1515

www.satellitedownlink.com

(917) 312-9894

https://www.interfacetv.com/ www.flight9.com

(718) 463-8700 (888) 354-4489

https://www.streambyte.tv

(267) 218-1004

www.vvn.com control1comm.com https://www.clarycomm.net www.firstcalluplinks.com www.broadcastassociates.com www.libertyuplink.com

(631) 752-9311 (205) 706-9524 (919) 904-6097 (800) 951-6707 (610) 754-6800 (215) 964-5222

https://www.streambyte.tv

(267) 218-1004

www.PMTV.com

(610) 768-1770

http://www.livemobilegroup.com/ https://skywaystudios.tv www.jacquesstarvideoproduction.com http://andrews-media.com/ www.gunnerlive.com www.moonbouncemedia.com www.wildharesat.com www.themediacenter222.com

(877) 959-8638 (800) 605-3590 Email (972) 570-1118 (678) 313-6001 (540) 327-1572 (360) 573-6850 (304) 720-5466

SPORTS PRODUCTION 2023 YEARBOOK

*All information is subject to change. For the most current contact information, please visit www.productionhub.com


THE LEADER IN SPORTS & LIVE EVENT VENUE TECHNOLOGY

ENGAGING FANS IN THE EXPERIENCE, ANYTIME, ANYWHERE

AUDIO VISUAL DIGITAL SIGNAGE ELECTRONIC SECURITY EMERGING TECHNOLOGY GOVERNMENT SERVICES MEDIA & ENTERTAINMENT MEDIA WORKFLOW REMOTE PRODUCTION

Whether from the comfort of your living room or if you’re lucky enough to attend a live event, Diversified’s team of sports & live events experts offer technology solutions that bring the excitement of the game closer than ever before.

INFORMATION TECHNOLOGY SPORTS & LIVE EVENTS

onediversified.com/sports


Advanced Image Robotics

Robotics Automation Remote Control Machine Learning

robots onsite, crew anywhere


Broadcast Power & Lighting • Expert Generator & Lighting Technicians • Unmatched Quality and Performance • Specialized Equipment

Los Angeles 818.686.6400

North Carolina www.Illuminationdynamics.com

704.679.9400



Your Workflow (re) imagined. Broadcast and Media Systems Integrator CineSys LLC celebrates their 25th Anniversary this year, providing content creators across North America with solutions, integration and support since 1997. The last few years have brought the CineSys team to focus on remote and hybrid set ups, media asset management, and developing custom software to help customers get the most out of their workflows. Whether it’s a setup for your outside broadcast truck, or for a remote post production team, get in touch with us for a consultation. We look forward to working with you and your team. Visit CineSys.io for more info.

We can help.

1-866-905-2050

sales@cinesys.io


Our innovative, dedicated and experienced team provides cutting edge technology for live events. Bring your vision into focus by letting us solve your RF needs. Broadcast Sports International, an NEP Company www.BSIntl.com


Gearbase

Gearbase 17TH-ANNUAL SVG SPORTS PRODUCTION GEARBASE SURVEY RESULTS

I

n 2023, the sports production services and facility industry continued to evolve and meet client needs for new workflows, the cloud, and more. But they also continued to innovate when it comes to truck design and, more importantly, are committed to rolling out new production trucks to meet the growth in sports production content creation. This year's Sports Production Gearbase features more IP-based trucks than ever, laying the foundation for a future where clients and facility providers have maximum flexibility with respect to how they want to produce an event.

CLICK HERE TO DOWNLOAD SPORTS PRODUCTION 2023 YEARBOOK

199



POWER AND FLEXIBILITY PIXERA is a versatile media server system for real-time media processing, compositing and management. perfect for synchronized 4K and 8K playback superior color management hardware and software only license options

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Connecting people through Audio Visual technology www.conferencetech.com (800) 743-6051


OH, HELLO WE HAVEN’T MET. LET’S FIX THAT! At MeyerPro we provide award-winning broadcast services to a wide range of corporate, sports and esports broadcasts. Have an event coming up? Looking for a broadcast partner? We’d love to talk!

503-855-8585

info@meyerproinc.com


TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE

CAMERAS

LENSES (H/HH)

53' double expando

HD/1080p 3G

Fiber

Studer Vista 8 62-Faders / 250 ch.

18 Sony

6-H Fujinon 12-HH Fujinon

Titan

53' triple expando

HD

Fiber

Studer Vista X 72-Faders / 600 ch.

24 Sony

6-H Fujinon 12-HH Fujinon

Revolution

53' double expando

HD/1080p 3G

Fiber

Studer Vista 9 62-Faders / 250 ch.

18 GV

6-H Fujinon 12-HH Fujinon

Crossroads

53' triple expando

Fiber

Studer Vista 8 62-Faders / 250 ch.

18 Sony

6-H Fujinon 12-HH Fujinon

Sterling

53' triple expando

Fiber

Studer Vista X 62-Faders / 600 ch.

18 Sony

6-H Fujinon 12-HH Fujinon

49' straight

Fiber

Studer Vista 5 M3 42-Faders / 250

10 Sony

4-H Fujinon 6-HH Fujinon

40' expando

HD

Fiber

Calrec Omega 48-Faders / 96 ch.

10 Sony

4-H Fujinon 6-HH Fujinon

Zurich

53' double expando

Fiber

Studer Vista X 72-Faders / 600 ch.

18 Sony

16 Fujinon

Eclipse

53' triple expando

HD/1080p 3G/ UHD/HDR HD/1080p 3G/ UHD/HDR smpte 2110 IP

Fiber

Studer Vista X 72-Faders / 600 ch.

18 GV

6-H. Canon 12-HH Canon

Unit A - Matthew

53' expando

HD

Triax

Unit B - John

40' Straight Box

HD/4K

RHS-36

36'

RHS-24

24'

Steel

53' expando trailer

OB1-Kenobi

53' Gerling Expando

4K HDR

SMPTE Fiber

HD28

28'

HD

Triax

X32 Digital (40 inputs)

GV LDX 92

60x

HD32 REMI HD20u FLY1

32' box Remote studio 20' box Flypack

HD HD HD HD

Triax Fiber Triax Fiber

Allen and Heath Advantis x32 Digital (40 inputs) X32 Digital (40 inputs) x32 Digital (40 inputs)

100x 40x 45x 40x

HD21

21ft

HD

Triax

X32 Digital (40 inputs)

HD12 HD14

12ft SPRINTER-REMI

HD HD

Fiber Triax

16 Channel X32 Digital (40 inputs)

GV LDX 93 GV 6000 GV 4000 JVC GY HD GV 6000 and 6200 Super Mo Sony PMW320 GV 4000

Gateway 4K

53' expando

HD/1080p/4K/HDR

Fiber only

Calrec Apollo (144/1020)

10 Sony 5500

12 Fujinon UHD

Vista 4K

53' expando

HD/1080p/4K/HDR

Fiber only

Calrec Apollo (144/1020)

10 Sony 5500

12 Fujinon UHD

Silver 4K

53' expando

HD/1080p/4K/HDR

Fiber only

Calrec Artemis Beam (64/340)

10 Sony 4300

12 Fujinon UHD

Trillium 4K

53' expando

HD/1080p/4K/HDR

Fiber only

Calrec Artemis Beam (64/340)

10 Sony 4300

12 Canon UHD

Pioneer 4K

53' expando

HD/1080p/4K

Fiber only

Calrec Artemis Beam (64/340)

10 Sony 4300

12 Fujinon UHD

Showcase

40' exp/studio

Yamaha or other

4 Panasonic AW-UE150 PTZ

4 Panasonic

Journey HD

53' expando

HD/1080p

Both

Calrec Artemis Beam (64/340)

10 Sony 2400

12 Canon

Pacific HD

53' expando

HD/1080p

Both

Calrec Artemis Beam (64/340)

10 Sony 2400

12 Fujinon

Atlantic HD

53' expando

HD/1080p

Both

Calrec Artemis Beam (64)(340)

10 Sony 2400

12 Fujinon

Echo HD

53' expando

HD

Both

Calrec Sigma (64)(320)

10 Sony 1500R

12 Canon

Thunder HD

53' expando

HD

Both

Calrec Sigma (64/320)

10 Sony 1500R

12 Canon

Sierra HD

53' expando

HD

Both

Calrec Sigma (64/320)

10 Sony 2400

10 Canon

DNA STUDIOS

BOUNCE CP COMMUNICATIONS MULTIMEDIA

ALL MOBILE VIDEO

NYLA Maverick

CLARK MEDIA

Epic

HD HD/1080p 3G/ UHD/HDR HD

DOME PRODUCTIONS

204

SD/HD/1080P/ 4K-CAPABLE/ HDR

CORNERSTONE AV

Gearbase

COMPANY TRUCK NAME DIMENSIONS/TYPE

SPORTS PRODUCTION 2023 YEARBOOK

8 Sony HXC-100

6 Hard, 2 HH

Triax

Calrec Omega w/ BlueFin (72 Fader), 128x128 Analog, 128 AES, 128x128 MADI Soundcraft Performer 3 86 Input, DANTE

6 Sony HXC-100

5 Hard, 2 HH

HD

Both

Yamaha QL5 (32+2 / 64 mono + 8 stereo)

7 GV, 1 Sony HD POV

5 Canon, 4 Fujinon 5/4

HD/1080P

Both

Yamaha TF5 32 fader, 48 input

7 GV, 1 Sony HD POV

5 Canon, 4 Fujinon 5/4

Calrec Artemis Light (56 fader, 196 chs.)

12 Sony HDC-4300 4K (wired for 16)

All 4K: 4 Fujinon 107x, 6 Fujinon 22x8, 2 13x4.5

Yamaha, Dante Fiber Network, x 512 Channels

Panasonic 12x AK(H) 2@ 77x, 55x, 42x (HH) UC3000 4x AW-HE130. Fujinon5 @ 20x , 2 @14x ,1@12x HD

HD/1080p/4K/HDR SMPTE Fiber

HD/1080P/4K/HDR As requested

55x 20x 55x

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities


MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Wired for 2

Kits vary

GV K-FRAME, 5M/E

4 8-ch. EVS

Wired for 2

Kits vary

Sony MVS-8000X, 5M/E

4 6-ch. EVS

Wired for 2

Kits vary

GV K-FRAME, 5M/E

4 8-ch. EVS

Wired for 1

Kits vary

Sony MVS-7000X, 5M/E

3 8-ch. EVS

PESA Video 480x480 Audio 640x768 PESA Video 288x512 Audio 768x768 PESA Video 288x288 Audio 1344x1344 PESA Video 256x256 Audio 256x256

Wired for 2

Kits vary

Sony XVS-7000, 5M/E

4 8-ch. EVS

GV Video 256x256 Audio 640x640

Wired for 2

Kits vary

Sony MVS-8000G, 4DME

2 6-ch. EVS

Wired for 1

Kits vary

Sony MVS-6530, 3M/E

2 6-ch. EVS

Wired for 2

Kits vary

Sony XVS-8000, 5M/E

4 8-ch. EVS

Pesa Video 128x128 Audio 128x128 Evertz Video 128x512 Audio336x336 GV Video 441x846 Audio 6608x13536

Wired for 2

Kits vary

GV K-FRAME-XP, 5M/E

4 8-ch. EVS

Cisco 2110-20 1730x2400 2110-30 10000x10000

Vizrt, Ross XPression, ChyronHego Duet

Full complement

GV Kalypso, 4M/E

1 6-ch. EVS, 2-4 ch EVS (w/ XFile3)

PESA 256x256

Vizrt, Ross XPression, ChyronHego Duet

Full complement

Ross Carbonite Ultra 24 Input, 10 Output, 2 Multiview

1 6-ch. EVS (w/ Xfile 3)

UTAH Scientific 64x64

Ross XPression/ChyronHego HyperX3

Senn., Sony, A-T, EV, Shure

Ross Carbonite Black Pro, 2M/E + 4 MiniME, with 3M/E panel

2 6-ch. Evertz Dreamcatcher

Ross (72x72 HD/64x64 AES, 32x32 analog)

Vmix Graphics w/Custom Looks

Senn., Sony, A-T, EV, Shure

Ross Carbonite , 2M/E + 4 MiniME, with 3M/E panel

Vmix 8in/2out NDI or 6in/2out SDI

BMD Constellation

ChyronHego Mosaic or Ross XPression

Senn., Sony, Shure, more as requested

GV Kayenne 5M/E and GV Korona 2M/E

Imagine Communications Platinum IP3, 533 3G inputs, 622 3G outputs, 2 EVS XT4K 12-ch., 1 Ross Mira 8-ch. 56 de-embedders, 80 embedders, 32 fiber inputs/outputs, 4 64x6 multiviewers

2-ch. Ross XPression, 2 x Disguise GX2c Media Server, 3x Solo, 6 x MAC Mini

Senn. (MK416, MKH418 , MKH8070) DPA D-fine Broadcast

1x Blackmagic 4K 2M/E ATEM & 2 x Barco E2

Ross ULTRIX 144 x144 w/Multiveiw, 16x Fiber I/O , 16ch per I/O 4 Position 20-ch. Ross Mira , 20-ch. embed,de-embed 2000x2000 Atomos Shogun Studio Audio RTR, w64x64 Madi to Dante, 12x Ultritouch Control Pannels

Chyron Duet, Ross XPression

Senn.

Ross Carbonite

Chyron Duet, Ross XPression Ross XPression Ross XPression Ross XPression

Senn. Senn. Senn. Senn.

Ross XPression

40x40

Ross Carbonite Ross Carbonite Blackmagic ATEM 2M/E Blackmagic ATEM 2M/E

8-ch. EVS Nano with X-File; 6-ch. NewTek 3Play 6-ch. NewTek 3Play; 2 GV K2 Solo 6-ch. NewTek 3Play 6-ch. NewTek 3Play 4-ch.

Senn.

Ross Carbonite

6-ch.Dreamcatcher

40x40

Ross XPression none

Senn. Senn.

Blackmagic ATEM 2M/E Ross Carbonite

16x16 16x1

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame X 4M/E (9 ME HD)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame X 4M/E (9 ME HD)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame X 4M/E (9 ME HD)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame X 4M/E (9 ME HD)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame X 4M/E (9 ME HD)

6-ch. NewTek 3Play none 2x EVS XT VIA 8-ch., 2x XT3 12-ch., 1x XS VIA 4-ch. Spot Box 3x EVS XT VIA 8-ch., 1x EVS XT VIA 12-ch., 1x XS VIA 4-ch. Spot Box 2x EVS XT VIA 8-ch., 2x XT3 12-ch., 1x XS VIA 4-ch. Spot Box 2x EVS XT4K 8-ch., 1x EVS XT4K 12-ch., 1x EVS XT3 12-ch., 1x XS VIA 4-ch. Spot Box 2x EVS XT4K 8-ch. 2x EVS XT3 12-ch., 1x XS VIA 4-ch. Spot Box

As requested

Senn.

Ross/Newtek/For-A or other

As requested

As requested

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K- Frame, 4.5M/E

Evertz (288x232/128x128)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame, 4.5M/E

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Frame, 4.5M/E

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Classic, 4.5M/E

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Classic, 4.5M/E

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Classic, 4.5M/E

2x EVS XT4K 8-ch., 2x EVS XT4K 12-ch., 1x XS VIA 4-ch. Spot Box 3x EVS XT3 12-ch., 1x XS4K 4-ch. Spot Box 1x EVS XT4K 8-ch., 2x EVS XT3 12ch., 1x XS4K 4-ch. Spot Box 1x EVS XT4K 8-ch., 2x EVS XT3 12ch., 1x XS4K 4-ch. Spot Box 1x EVS XT4K 8-ch., 2x EVS XT3 12ch., 1x XS4K 4-ch. Spot Box 3x EVS XT3 12-ch., 1x XS4K 4-ch. Spot Box

Gearbase

GRAPHICS

40x40 40x40 16x16 16x32

GV / Cisco ST 2110 IP Core Evertz (558x576/48x96) Evertz (378x414/48x96) Evertz (576x540/48x96) Evertz (540x450/48x96)

Evertz (288x288/128x128) Evertz (288x288/128x128) Evertz (288x180/128x128) Evertz (288x180/128x128) Evertz (288x180/128x128)

SPORTS PRODUCTION 2023 YEARBOOK

205


#DomeIsThere Virtual Studio | @homeproductions | Cloud Production | IP and 4K Mobiles IP & Fibre Connectivity | Teleport | Network Operation Centre (NOC)

Connecting the World.

www.domeproductions.com



DOME PRODUCTIONS

Gearbase

COMPANY

GAME CREEK VIDEO

F&F PRODUCTIONS

ENCOMPASS

TRUCK NAME

DIMENSIONS/TYPE

SD/HD/1080P/ 4K-CAPABLE/HDR

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE

CAMERAS

LENSES (H/HH)

Spirit HD

53' expando

HD

Both

Calrec Sigma (64/320)

10 Sony 1500

12 Canon

Tribute HD

53' expando

HD

Triax

Calrec Omega (56/168)

9 Sony HSC-300

10 Canon

Horizon HD

53' expando

HD

Triax

Calrec Alpha 100 (64/118)

10 Sony HSC-300

12 Canon

Spring

48' trailer

HD

Both

Calrec Brio (36/96)

7 Sony 2400

7 Canon

Kodiak HD

40'

HD

Both

Calrec S2 (48)

7 Sony 1500

4 Fujinon/3 Canon

Sidecar HD Wavelink -Ku / OTT /Haivision/ Internet/ Uplink Unite HD

16' trailer

HD

As requested

Mackie 1402 (10)

As requested

As requested

Sprinter 4500 Chasis

HD/1080P/4K

N/A

N/A

N/A

N/A

53' double expando

As requested

As requested

32’ Ku-band

HD

As requested wired for 5 Panasonic HC-3800

As requested

TES5

As requested SMPTE/TAC fiber

GTX-11

53' expando

HD/1080i

Both

GTX-12

53' expando

HD/1080i

Both

GTX-16

53' double expando

HD/1080i

Both

Calrec Artemis Beam V8 w/ High Density Bluefin2 (64 Faders/340 Input Channels)

(8) Sony 2500 & (2) Sony 4300 (2) Sony 1500

(5) Fujinon 101x, (2) Fujinon 88x, (2) Fujinon 22x, (1) Fujinon14x4.5, (3) Fujinon 13x4.5, (2) Fujinon12x4.5

GTX-17

53' double expando

HD/1080i

Both

Calrec Artemis Beam V8 w/ High Density Bluefin2 (64 Faders/340 Input Channels)

(12) Sony 2500

(8) Fujinon 99x, (3) Fujinon 23x, (2) Fujinon18x5.5, (2) Fujinon 13x4.5

GTX-19

53' double expando

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin2 (72 Faders/ 1020 Input Channels)

(12) Sony 3500 (4) 4K Sony 4300L (2) Sony 1500

(8) Fujinon 4K 107x, (3) Fujinon 4K 23x, (5) Fujinon 4K 18x5.5, (2) Fujinon 4K 14x4.5, (2) Fujinon 22x

GTX-20

53' double expando

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin2 (72 Faders/ 1020 Input Channels)

(12) Sony 3500 (4) 5500 (2) Sony 1500

(8) Fujinon 4K 125x, (4) Fujinon 4K 24x, (1) Fujinon 4K 18x5.5, (3) Fujinon 4K 13x4.5, (1) Fujinon 22x, (1) Fujinon 17x

79

Two 53' expandos

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin Surround Sound (144 12-layer Faders/1020 Channels)

12 Sony HDC 4300 Multi-format

9 Canon Digi Super 95 X 8.6, 2 Canon 22x7.8 ENG, 2 Canon 14x4.7 Wide Angle ENG

Apollo

53' expando

HD/1080p/4K/HDR

Both

Calrec Artemis Beam Surround Sound (64 12-layer Faders/340 Channels)

10 Sony HDC 2500 Multi-Format

5 Canon 100 X 9.3 Lenses, 3 Canon 22x7.8 ENG, 2 Canon 14x4.3 Wide Angle ENG

Bravo (2019)

53' expando

HD/1080p/4K/HDR

Fiber

Calrec Artemis Beam Surround Sound (64 12-layer Faders/340 Channels)

Up to 20 Sony HDC 5500 Multi-format

10 Canon 100 X 9.3 Lenses, 3 Canon 22x7.8 ENG, 2 Canon 14x4.3 Wide Angle ENG

Celtic (2020)

53' expando

HD/1080p/4K/HDR

Fiber

Calrec Artemis Ray Surround Sound (72 12-layer Faders/456 Channels)

Up to 20 Sony HDC 5500 Multi-format

8 Canon Digi Super 111x 3 Canon 24x7.8 ENG, 2 Canon 14x4.7 Wide Angle ENG

Centennial (2022)

53' expando

HD/1080p/4K/HDR

Fiber

Calrec Artemis Ray Impulse Core Surround Sound (72 12-layer Faders/456 Channels)

Up to 20 Sony HDC 5500 Multi-format

7 Canon Digi Super 122x 3 Canon 24x7.8 ENG, 3 Canon CJ14x4.7 Wide Angle

Chesapeake

53' expando

HD/1080p/4K/HDR

Fiber

Calrec Artemis Beam Surround Sound (64 12-layer Faders/340 Channels)

13 Sony HDC 4300 Multi-format

9 Canon Digi Super 95, 3 Canon 24x7.8 ENG, 2 Canon 14x4.7 Wide Angle ENG

Columbia (2019)

53' expando

HD/1080p/4K/HDR

Fiber

Calrec Artemis Ray Surround Sound (72 12-layer Faders/456 Channels)

Up to 20 Sony HDC 5500 Multi-format

8 Canon Digi Super 111x 3 Canon 24x7.8 ENG, 2 Canon 14x4.7 Wide Angle ENG

Discovery

44' dual expando

HD/1080p

Both

Calrec Artemis Beam Surround Sound (64 12-layer Faders/340 Channels)

6 Sony HDC 1500 Multi-format

4 Canon Digi Super 72 X 9.3 Lenses, 2 Canon 22x7.8 ENG, 1 Canon 14x4.3 Wide Angle ENG

Mackie 1604VLZ

Fujinon HA18X7.6

Calrec Artemis Beam V8 w/ High (8) Sony 2500(4) Sony (5) Fujinon 101x, (2) Fujinon 88x, Density Bluefin2 (56 Faders/340 (6) Fujinon 22x, (2) Fujinon 14x4.5 1500 Input Channels) Calrec Artemis Beam V8 w/ High (8) Sony 2500(4) Sony (5) Fujinon 101x, (2) Fujinon 88x, (2) Fujinon 22x, (2) Fujinon 13x4.5, Density Bluefin2 (56 Faders/340 1500 (2) Fujinon 12x4.5 Input Channels)

2 Canon Digi Super 100 X 9.3

Dynasty

208

53' expando

HD/1080p

Both

Calrec Alpha w/ Bluefin Surround 8 Sony HDC 2500 Lenses, 4 Canon Digi Super 95 X 9.3 Lenses, 3 Canon Digi Super 75 Sound (80 Dual Layer Faders/320 Multi-format / 2 Channels) HDC4300 Mulit-format X 9.3 Lenses, 3 Canon 22x7.8 ENG, 1

Encore

Three 53' expandos

HD/1080p/4K/HDR

Fiber

Calrec Apollo w/ Bluefin Surround Sound (144 12-layer Faders/1020 Channels)

Freedom

53' expando

HD

Both

Calrec Sigma w/ Bluefin Surround Sound (80 Dual Layer Faders/320 Channels)

SPORTS PRODUCTION 2023 YEARBOOK

14 Sony HDC 4300 Multi-format 6 Sony HDC 1500 Multi-Format

Canon 11x4.7 Wide Angle ENG 10 Canon Digi Super 100x9.3, 4 Canon Digi Super 95 X 8.6, 4 Canon 22x7.8 ENG, 4 Canon 14x4.7 Wide Angle ENG 3 Canon Digi Super 75 X 9.3 Lenses,, 2 Canon 21x7.8 ENG, 1 Canon 11x4.7B Wide Angle ENG,

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities


MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV Kalypso, 4M/E

GV Trinix (222x160/160x128)

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV K-Classic, 4.5M/E

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

GV Kalypso, 4M/E

1x EVS XT3 12-ch., 3x EVS XT3 6-ch., 1x XS 4-ch. Spot Box 1x EVS XT3 12-ch., 2x EVS XT3 6-ch., 1x XS 4-ch. Spot Box 3x EVS XT3 6-ch., 1x XT2+ 6-ch. Spot Box As requested 2x EVS XT3 6-ch., 1x XS 4-ch. Spot Box As requested N/A

Ross Ultrix 32 x32

Harris (64x64/128x128) GV Trinix (224x320/96x64)

As requested

A-T, Senn., EV, Sony

ChyronHego Mosaic XL2

A-T, Senn., EV, Sony

As requested

As requested

As requested GV K-Classic, 4ME (2.5ME Karerra panel) As requested

N/A

N/A

N/A

As requested

As requested

As requested

N/A

Senn. HMD25-1

Panasonic HS-410n

Upon Client Request

Senn., Audio Technica, EV, Sony

Upon Client Request

Senn., EV, Sony

Upon Client Request

Senn., EV, Sony

Upon Client Request

Senn., Sony

Upon Client Request

Senn., Sony

Upon Client Request

Senn., Sony

GV Kayenne X K-Frame 192 Input / 96 Output / 9 Mix Effect, 64 GB Still Store w/Movies, K2 Summit

Upon Request

Senn., A-T, Sony

GV Kayenne K-Frame, 9M/E

5 EVS 12-ch. XT4K, 1 EVS XS4 SpotBox

Evertz EXE SVDN 744 x 948 + 989

Upon Request

Senn., Beyer, EV, Sony

GV Kayenne, 3M/E

3 EVS XT4k, 1 EVS 6-ch. XT3 Spotbox

Evertz EQX 3G Video Evertz EMR Audio

Upon Request

Senn., Beyer, EV, Sony

GV Kayenne K-Frame X, 9M/E

Lawo/Arista Streaming Video Up to 8 16-ch. XT-VIA, 1 EVS XS-VIA Network (432x528 Baseband, 64x64 Spotbox GCV T2T, 384x96 Multiviewer)

Upon Request

Senn., Beyer, EV, Sony

GV Kayenne K-Frame X, 9M/E

Lawo/Arista Streaming Video Up to 8 16-ch. XT-VIA, 1 EVS XS-VIA Network (432x528 Baseband, 64x64 Spotbox GCV T2T, 384x96 Multiviewer)

Upon Request

Senn., Beyer, A-T, EV, Sony

GV Kayenne K-Frame-XP, 9M/E

Up to 8 16-ch. XT-VIA, 1 EVS XS-VIA Spotbox

n/a

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

2 EVS 12-ch. XT3, 2 EVS 8-ch. XT3 , 1 EVS XS4 SpotBox

Evertz EQX 3G Video Evertz EMR Audio

Upon Request

Senn., Beyer, EV, Sony

GV Kayenne K-Frame X, 9M/E

Upon Request

Senn., Beyer, EV, Sony, Shure

GV Kayenne, 4.5M/E

3 EVS 6-ch. XT3 1 EVS 4-ch. XT3 SpotBox

Evertz EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV K-Frame, 4.5M/E

2 EVS 12-ch. XT3, 1 EVS XT4k , 2 EVS 6-ch. XT3 1 SpotBox

Evertz EQX 3G Video Evertz EMR Audio

Upon Request

Senn., A-T, Sony

GV Kayenne K-Frame, 9M/E

11 EVS XT-VIA

A-Unit: 968 x 2214 Multiformat Video Router With 468x378 Embedded MUX/DEMUX Capability

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 3M/E

3 EVS 6-ch. XT3, 1 EVS SpotBox

Evertz EQX 3G Video Evertz EMR Audio

GV Kayenne Elite K-Frame 96 Input / 48 Output / 4.5 Mix Effect, 32 GB Still Store, K2 Summit GV Kayenne Elite K-Frame 96 Input / 48 Output / 4.5 Mix Effect, 32 GB Still Store, K2 Summit GV Kayenne Elite K-Frame 128 Input / 64 Output / 9 Mix Effect, 32 GB Still Store, K2 Summit GV Kayenne Elite K-Frame 128 Input / 64 Output / 9 Mix Effect, 32 GB Still Store, K2 Summit GV Kayenne X K-Frame 192 Input / 96 Output / 9 Mix Effect, 64 GB Still Store w/Movies, K2 Summit

Gearbase

GRAPHICS

Evertz (86x95) Evertz (84x120/32x32) Blackmagic 16x16

As requested As requested 2 AJA Ki Pro Rec/Play; additional Blackmagic (40x40 SDI embedded available audio only) (4) 8-ch. EVS XT3 (1 w/SSMO GV Trinix (256x256), (128x128 Option), (1) XFile3, (1) 4-ch. SpotBox Analog, 64x64 AES), (2) 16-CH w/ Interface & Lance Controller Evertz Embedders (4) 8-ch. EVS XT3, (1) XFile3, (1) GV Trinix (256x256), (128x128 4-ch. SpotBox w/ Interface & Lance Analog, 96x96 AES), (2) 16-CH Controller Evertz Embedders (3) 12-ch. EVS XT3, (1) 8-ch. EVS Evertz EQX (288x576), (48x96 XT3 (w/SSMO Option), (1) XFile3, (1) 192x144 AES), (2) 16-CH 6-ch. Spotbox w/ Interface & Lance Analog,Evertz Embedders Controller (4) 12-ch. EVS XT4K (2 w/SSMO Evertz HD (496x980), (96x192 Option), (2) XFile3, (1) 6-ch. SpotBox Analog, 288x288 AES, 16x16 MADI), w/ Interface & Lance Controller (2) 16-CH Evertz Embedders (6) 12-ch. EVS VIA (w/SSMO Option), Evertz Xlink (576x1152)(128x128 (2) XFile3, (1) 6-ch. SpotBox w/ Analog, 128x128 AES, 64x64 Dante, Interface & Lance Controller 256x256 MADI) (6) 12-ch. EVS VIA (x/SSMO Option), GV IP (576x746)(128x128 Analog, (1) IPDirector, (2) XFile3, (1) 6-ch. 128x128 AES, 256x256 Dante, SpotBox w/ Interface & Lance 256x256 MADI) Controller

Lawo/Arista Streaming Video Up to 8 16-ch. XT-VIA, 1 EVS XS-VIA Network (432x528 Baseband, 64x64 Spotbox GCV T2T, 384x96 Multiviewer)

SPORTS PRODUCTION 2023 YEARBOOK

209


CAPTURE CRAFT CREATE ALWAYS CAPTURING THE ACTION AND CREATING COMPELLING CONTENT, SO THE WORLD DOESN’T MISS A THING. Home to state-of-the-art equipment, cutting edge technology and world class production and post-production facilities, we are leading the way in global sports and entertainment content creation.

enquiries@gravitymedia.com

#CaptureCraftCreate

gravitymedia.com


www.opengear.tv/guide


Gearbase

COMPANY

TRUCK NAME

DIMENSIONS/TYPE

SD/HD/1080P/ 4K-CAPABLE/HDR

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE

CAMERAS

LENSES (H/HH)

Gemini

44' dual expando

HD/1080p

Both

Calrec Omega w/ Bluefin Surround Sound (80 Dual Layer Faders/320 Channels)

6 Sony HDC 1500 Multi-Format

4 Canon Digi Super 86 X 9.3 Lenses, 2 Canon 22x7.8 ENG, 2 Canon 14x4.3 Wide Angle ENG

Glory

Two 53' expandos

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin Surround Sound (144 12-layer Faders/1020 Channels)

Gridiron (2019)

Two 53' expandos

HD/1080p/4K/HDR

Fiber

Calrec Artemis Ray Surround Sound (72 12-layer Faders/456 Channels)

Up to 20 Sony HDC 5500 Multi-format

10 Canon Digi Super 111x 4 Canon 24x

Gotham (2020)

53' expando

HD/1080p/4K/HDR

Fiber

Calrec Apollo w/ Bluefin Surround Sound (144 12-layer Faders/1020 Channels)

Up to 20 Sony HDC 5500 Multi-format

7 Canon Digi Super 111x 3 Canon 24x7.8 ENG, 2 Canon 14x4.7 Wide Angle ENG

Justice

53' expando

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin Surround Sound (144 12-layer Faders/1020 Channels)

10 Sony HDC 2400 Multi-format

6 Canon Digi Super 86x9.3, , 2 Canon 22x7.8 ENG, 2 Canon 14x4.3 Wide Angle ENG

Larkspur

53' expando

HD/1080p/4K/HDR

Fiber

Calrec Artemis Ray Surround Sound (72 12-layer Faders/456 Channels)

10 Sony HDC 4300 Multi-format

7 Canon Digi Super 100x9.3,, 2 Canon 22x7.8 ENG, 2 Canon 14x4.3 Wide Angle ENG

Legends

53' expando

HD

Both

Calrec Alpha w/ Bluefin Surround Sound (80 Dual Layer Faders/320 Channels)

10 Sony HDC 1500-R Multi-format

6 Canon Digi Super 75x9.3, 3 Canon 22x7.8 ENG, 2 Canon 14x4.3 Wide Angle ENG

Liberty

Two 53' expandos

HD

Both

Calrec Alpha w/ Bluefin Surround Sound (80 Dual Layer Faders/320 Channels)

10 Sony HDC 1500-R Multi-format

4 Canon Digi Super 86x9.3, 2 Canon Digi Super 75x9.3, 2 Canon 22x7.8 ENG, 2 Canon 11x4.7B Wide Angle ENG

GAME CREEK VIDEO

Madison

212

53' expando with a 64' by 24' Recommended HD/1080p/4K/HDR Working Area

Fiber

6 Canon Digi Super 95x9.3, 3 10 Sony HDC 2500 Canon Digi Super 75x9.3, 2 Canon Multi-format / 4 22x7.8 ENG, 2 Canon 14x4.7 Wide HDC4300 Multi-Format Angle ENG

Calrec Apollo w/ Bluefin Surround Sound (144 12-layer 6 Canon Digi Super 95, 3 Canon Faders/1020 Channels) (128) Mic/ 10 Sony HDC 4300 24x7.8 ENG, 2 Canon 14x4.7 Wide Line Input (96) AES Input/96 AES Multi-format Angle ENG Output (128) Line Out (512) MADI Input/(512) MADI Output Calrec Artemis Beam Surround 5 Canon Digi Super 75x 9.3 10 Sony HDC 2500 Lenses, 3 Canon 22x7.8 ENG, 2 Sound (64 12-layer Faders/340 Multi-format Canon 14x4.3 Wide Angle ENG Channels) Calrec Artemis Beam Surround 8 Sony HDC 4300 6 Canon Digi Super 95, 1 Canon Digi 100x 3 Canon 24x7.8 ENG, 2 Sound (64 12-layer Faders/340 Multi-format / 3 Channels) HDC5500 multi-format Canon 14x4.7 Wide Angle ENG Calrec Artemis Beam Surround 6 Canon Digi Super 95, 3 Canon 10 Sony HDC 2500 24x7.8 ENG, 3 Canon 14x4.7 Wide Sound (64 12-layer Faders/340 Multi-format Angle ENG Channels) Calrec Sigma w/ Bluefin 4 Canon Super 75x9.3, 2 HDC 1500-R Canon 22x7.8Digi ENG, 2 Canon 11x4.7B Surround Sound (80 Dual Layer 10 Sony Multi-format Wide Angle ENG Faders/320 Channels) Calrec Alpha (64 Faders/108 4 Canon Digi Super 75x9.3, 2 Stereo Channels/104 Mono 5 Sony HDC 1500-R Canon 21x7.8 ENG, 1 Canon 11x4.7B Channels/52 Surround Sound Multi-format Wide Angle ENG Channels)

Maverick

53' expando

HD/1080p/4K/HDR

Both

NineFour

53' expando

HD/1080p/4K/HDR

Fiber

Nitro

53' expando

HD/1080p/4K/HDR

Both

Northstar

53' expando

HD

Both

Patriot

53' expando

HD

Both

PeacockOne

Two 53' expandos

HD/1080p/4K/HDR

Fiber

Calrec Apollo w/ Bluefin Surround Sound (144 12-layer Faders/1020 Channels)

Pride

Two 53' expandos

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin Surround Sound (144 12-layer Faders/1020 Channels)

Prime (2022)

Three 53' expandos, One 53' straight

HD/1080p/4K/HDR

Fiber

RiverHawk

53' expando

HD/1080p/4K/HDR

Both

Spirit

Two 53' expandos

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin Surround Sound (144 12-layer Faders/1020 Channels)

12 Sony HDC 2500 Multi-format

Victory

Two 53' expandos

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin Surround Sound (144 12-layer Faders/1020 Channels)

10 Sony HDC 4300 Multi-format

Webby

53' expando

HD/1080p/4K/HDR

Fiber

Calrec Artemis Beam Surround Sound (64 12-layer Faders/340 Channels)

11 Sony HDC 4300 Multi-Format

SPORTS PRODUCTION 2023 YEARBOOK

6 Canon Digi Super 100x9.3, 6 Canon Digi Super 95 X 8.6, 4 Canon 22x7.8 ENG, 4 Canon 14x4.7 Wide Angle ENG 6 Canon Digi Super 95 X 9.3 8 Sony HDC 4300 Lenses, 3 Canon Digi Super 75 X Multi-format / 2 9.3 Lenses, 4 Canon 22x7.8 ENG, 2 HDC5500 Multi-Format Canon 14x4.7 Wide Angle ENG

23 Sony HDC 4300 Multi-format

Calrec Apollo Impule Core Surround Sound (144 12-layer Canon Digi Super 122x 6 Canon 26 Sony HDC5500 2024x7.8 ENG, 6 Canon CJ14x Wide Faders/1020 Channels), Calrec Multi Format Angle Artemis Ray Surround Sound (72 12-layer Faders/456 Channels) Calrec Artemis Beam Surround 8 Sony HDC 2500 6 Canon Digi Super 86x9.3, , 2 Canon 22x7.8 ENG, 2 Canon 14x4.3 Sound (64 12-layer Faders/340 Multi-Format / (2) Wide Angle ENG Channels) HDC4300 Mulit-format 2 Canon Digi Super 100 X 9.3, 6 Canon Digi Super 95 X 8.6, 3 Canon 22x7.8 ENG, 4 Canon 14x4.3 Wide Angle ENG 2 Canon Digi Super 100x9.3, 5 Canon Digi Super 86x9.3, 3 Canon 22x7.8 ENG, 2 Canon 14x4.7 Wide Angle ENG 6 Canon Digi Super 95 X 9.3 Lenses, 2 Canon Digi Super 100 X 9.3 Lenses, 3 Canon 22x7.8 ENG, 2 Canon 14x4.3 Wide Angle ENG

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities


MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Upon Request

Senn., Beyer, EV, Sony, Shure

GV Kayenne, 3M/E

1 EVS 12CH, 1 EVS 6-ch. XT3, 1 EVS SpotBox

Evertz EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

2 EVS 12-ch. XT3, 1 EVS XT4K, 2 EVS XT3 6ch, 1 SpotBox

Evertz EQX 3G Video Evertz EMR Audio

Upon Request

Senn., Beyer, EV, Sony

GV Kayenne K-Frame X, 9M/E

Lawo/Arista Streaming Video Up to 8 16-ch. XT-VIA, 1 EVS XS-VIA Network (432x528 Baseband, 64x64 Spotbox GCV T2T, 384x96 Multiviewer)

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne K-Frame X, 9M/E

Lawo/Arista Streaming Video Up to 8 16-ch. XT-VIA, 1 EVS XS-VIA Network (432x528 Baseband, 64x64 Spotbox GCV T2T, 384x96 Multiviewer)

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV K-Frame, 3M/E

2 EVS 12-ch. XT3, 2 EVS 6-ch. XT3, 1 EVS 4-ch. SpotBox

Evertz EQX 3G Video Evertz EMR Audio

Upon Request

Senn., Beyer, EV, Sony

GV K-Frame, 3M/E

3 EVS XT4K , 1 EVS XT-VIA, 1 EVS XS4k SpotBox

Evertz EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic

Senn., Beyer, EV, Sony

GV Kayenne, 3M/E

5 EVS 6-ch. XT3, 1 EVS SpotBox

288x576 Pesa HD Video

Upon Request

Senn., Beyer, EV, Sony

GV Kayenne, 4.5M/E

5 EVS 6-ch. XT3, 1 EVS SpotBox

384x720 Pesa HD Video

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

3 EVS 12-ch. XT3, 1 EVS XS4 SpotBox

Evertz EQX 3G Video Evertz EMR Audio

Upon Request

Senn., Beyer, EV, Sony

GV Kayenne K-Frame, 4.5M/E

3 EVS 6-ch. XT3, 1 EVS SpotBox

Evertz EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 3M/E

2 EVS XT-VIA, 2 EVS XT4K, 1 EVS XS4K SpotBox

Evertz EQX 3G Video Evertz EMR Audio

Upon Request

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

4 EVS 12-ch. XT3, 1 EVS XS4 SpotBox

Evertz EQX 3G Video Evertz EMR Audio

Upon Request

Senn., Beyer, EV, Sony

GV Kayenne, 4.5M/E

3 EVS 6-ch. XT3 , 1 EVS SpotBox

288x576 Pesa HD Video

Upon Request

Senn., Beyer, EV, Sony

GV Kayenne, 3M/E

3 EVS 6-ch. XT3, 1 EVS SpotBox

Evertz EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

9 EVS XT-VIA

Two 576 x 1152 Multiformat Video Router With 128 x 128 Embedded MUX/DEMUX Capability

Upon Request

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

4 EVS XT-VIA, 3 6-ch. XT3 LSM, 1 SpotBox

Evertz EQX 3G Video Evertz EMR Audio

Upon Request

Senn., Beyer, A-T, EV, Sony

GV Kayenne K-Frame-XP, 9M/E

17 EVS XT-VIA, , 1 SpotBox

n/a

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 4M/E

2 EVS 12-ch. XT3, 2 EVS 6-ch. XT3, 1 EVS SpotBox

Evertz EQX 3G Video Evertz EMR Audio

Upon Request

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 9M/E

4 EVS XT4K, 3 EVS 6-ch. XT3, 1 EVS XS 4 SpotBox

Evertz EQX 3G Video Evertz EMR Audio

Upon Request

Senn., Beyer, EV, Sony

GV Kayenne K-Frame, 4.5M/E

1 EVS 12-ch. XT3, 3, EVS XT4K, 2 EVS 8-ch. XT3, 1 EVS 6-ch. spot box

Evertz EQX 3G Video Evertz EMR Audio

ChyronHego Mosaic

Senn., A-T, EV, Sony

GV Kayenne K-Frame, 4.5M/E

4 EVS XT4K , 1 EVS XS4K

Evertz EQX 3G Video Evertz EMR Audio

SPORTS PRODUCTION 2023 YEARBOOK

Gearbase

GRAPHICS

213


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Gearbase

COMPANY

TRUCK NAME

DIMENSIONS/TYPE

SD/HD/1080P/ 4K-CAPABLE/HDR

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE

CAMERAS

LENSES (H/HH)

GAME CREEK VIDEO

Yogi

Two 53' expando

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin Surround Sound (144 12-layer Faders/1020 Channels)

13 Sony HDC 5500 Multi-format / 3 Sony HDC2500 1080p

9 Canon Digi Super 95 X 8.6, 4 Canon 22x7.8 ENG, 4 Canon 14x4.7 Wide Angle ENG

Columbus

53' expando

4K UHD/HD

Fiber

Lawo

20 Sony HDC 4300

Fujinon

Maestro

HD

Both

Calrec Omega (48/112)

6-12 Sony HSC 300

Canon

HD

Both

Yamaha QL-5 (32/72)

6-8 Sony HSC 100

Canon

HD

Both

Yamaha QL-5 (32/72)

6-8 Sony HSC 300

Canon

HD HD HD

Triax Triax Triax

Soundcraft EXPression (20/20) Soundcraft EXPression (20/20) Soundcraft EXPression (20/20)

4-5 Sony HXC 100 4-5 Sony HXC 100 4-5 Sony HXC 100

Canon and Fujinon Canon and Fujinon Canon and Fujinon

HD

Triax

Calrec Brio 36

6 Hitachi SK1200/1300

Canon

Pluto

40' Gerling Super Stallion expando 27' Gerling Super Nomad 27' Gerling Super Nomad 24' Mercedes Sprinter 24' Mercedes Sprinter 24' Mercedes Sprinter 32' Gerling Super Nomad expando 32' Gerling Super Nomad expando

HD

Triax

Calrec Brio 36

6 Hitachi SK1200/1300

Canon

Flypack A

16 camera flypack

Fomat HD/3G

Fiber

Flypack B

8 camera flypack

Fomat HD/3G

Fiber

High Rock 1

40' dual expando

HD

Fiber

Lyon 3

43' expando

HD/1080p/HDR

Both

Calrec Artemis (56/240)

7 GV

Lyon 4

43' expando

HD/1080p

Both

Calrec Artemis (56/240)

7 GV

Lyon 6

53' expando

HD

Both

Calrec Alpha (72/480), Calrec Omega (56/160)

11 GV, 1 GV Extreme SSMO

Lyon 8

53' expando

HD

Both

Calrec Sigma (64/320)

11 GV, 1 GV Extreme SSMO

Lyon 9

50' expando

HD

Both

Calrec Omega (56/160)

9 GV

Lyon 10

53' expando

HD

Both

Calrec Artemis (56/240)

10 GV, 1 GV Extreme SSMO

Lyon 11

53' expando

HD/1080p/HDR

Both

Calrec Apollo (144/1,020)

12 GV, 2 GV Extreme SSMo

Lyon 12

53' expando

HD/1080p/HDR

Both

Calrec Artemis (64/340)

11 GV, 1 GV Extreme SSMO

Lyon 14

53' expando

HD/1080p/4K/HDR

Both

Calrec Apollo (144/1,020)

11 GV, 1 GV Extreme SSMO

Lyon 15

53' expando

HD/1080p/4K/HDR

Both

Calrec Apollo (96/1,020)

10 GV, 1 GV Extreme SSMO

Lyon 17

53'

HD/1080p/HDR

Both

Calrec Omega (56/160)

10 GV

Opus

GRAVITY MEDIA

Ovation Busker Solo Trouper Polaris

LIVE MEDIA GROUP - LYON VIDEO

HIGH ROCK MOBILE

216

Up to 25 Hitachi SK-HD1200 or Sony HDC 4300 Up to 10 Hitachi SKCalrec Brio HD1200 or Sony HDC 4300 8 Sony HDC1700L 8 Calrec Artemis Light w/ Bluefin2 HDCU2500 CCU's , 1 and Hydra2 (40 Faders) Sony HDC 4300 4K, 1 Sony HDCU4300L Calrec Artemis or LAWO MC2 56

Lyon 18

53' expando

HD/1080p

Fiber

Calrec Artemis (56/340)

10 Sony

HDX21

45' expando

HD/1080p/HDR

Both

Calrec Artemis (48/240)

9 GV

HDX22

43' expando

HD/1080p/HDR

Both

Calrec Artemis (48/240)

9 GV

HD23

32' expando

HD

Both

Calrec Artemis (40/240)

8 GV

HD24

32' expando

HD/1080p

Both

Calrec Artemis (40/240)

6 GV

HDX25

32' expando

HD

Both

Yamaha CL5 (32/88)

8 GV

HD29

38' expando

HD

Both

Calrec Summa (44/160)

7 GV

HDX30

41' expando

HD/1080p

Both

Calrec Artemis (48/240)

8 GV

SPORTS PRODUCTION 2023 YEARBOOK

Canon and Fujinon Canon and Fujinon 2 Canon HD 95x8.6, 2 Canon HD 80x8.8, 1 Canon HD 76x9.0 , 4 Canon HD 14x4.3 ENG/EFP Wide Angle, 3 Canon 24x7.5 ENG/EFP 1 Fujinon 88X, 4 Fujinon 72X, 1 Fujinon 22X, 1 Fujinon 18X, 1 Fujinon 12X 1 Fujinon 88X, 4 Fujinon 72X, 1 Fujinon 22X, 1 Fujinon 18X, 1 Fujinon 12X 1 Fujinon 101X, 2 Fujinon 88X, 6 Fujinon 72X, 6 Fujinon 22X, 2 Fujinon 12X 1 Fujinon 101X, 2 Fujinon 99X, 2 Fujinon 88X, 2 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 12X 1 Fujinon 101X, 2 Fujinon 88X, 3 Fujinon 72X, 4 Fujinon 22X, 1 Fujinon 12X 1 Fujinon 101X, 2 Fujinon 88X, 4 Fujinon 72X, 4 Fujinon 22X, 1 Fujinon 12X 4 Fujinon 99X, 1 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 18X, 4 Fujinon 14X 1 Fujinon 101X,3 Fujinon, 2 Fujinon 88X, 1 Fujinon 72X, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 12X 1 Fujinon 107X, 4 Fujinon 99X, 2 Fujinon 80X, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 13X 1 Fujinon 107X, 2 Fujinon 99X, 2 Fujinon 88X, 2 Fujinon 72x, 2 Fujinon 22X, 2 Fujinon 18X, 2 Fujinon 13X 1 Fujinon 101X, 2 Fujinon 88X, 4 Fujinon 72X, 4 Fujinon 22X, 1 Fujinon 12X 1 Fujinon 107, 2 Fujinon 99x, 2 Fujinon 77x, 3 Fujinon 22x, 1 WA 5 Canon 80x, 4 Canon 23x 3 Canon 76x, 2 Canon 72x, 2 Canon 22x, 3 Canon WA 2 Fujinon 72x, 2 Fujinon 22x, 1 Fujinon WA 4 Fujinon 77x, 2 Fujinon 22x, 1 Fujinon WA 4 Fujinon 77x, 2 Fujinon 22x 1 Canon 86x, 2 Canon 80x, 2 Canon 72x, 2 Canon 22x, 1 WA 2 Canon 86x, 3 Canon 72x, 2 Canon 22x, 1 WA

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities


MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Vizrt

Senn., A-T, Sony

GV Kayenne K-Frame, 9M/E

6 EVS 12-ch. XT-VIA , 1 EVS XS4 SpotBox

Evertz EXE SVDN 744 x 948 + 989

Ross XPression

Senn.

GV Kayenne K-Frame

4 EVS XT4

ChyronHego HyperX3

Senn., Sony, EV

GV Kalypso, 4M/E

2 EVS XT3

Imagine IP3 (1000x1000), Lawo VSM/Lawo (4096x4096) 128x128 video, 128x128 audio, 72x144 video mon.

N/A

Senn., Sony, EV

Blackmagic ATEM

Wired for 6-ch.

72/72 video

N/A

Senn., Sony, EV

Blackmagic ATEM

Wired for 6-ch.

72/72 video

N/A N/A N/A

Senn., Sony, EV Senn., Sony, EV Senn., Sony, EV

Blackmagic ATEM Blackmagic ATEM Blackmagic ATEM

Wired for 6-ch. Wired for 6-ch. Wired for 6-ch.

40x40 video 40x40 video 40x40 video

NDI capable

Senn., Sony, EV

SimplyLive Vi-Box 16

Vi-Box

SAM Vega 400 72x108

NDI capable

Senn., Sony, EV

SimplyLive Vi-Box 16

Vi-Box

SAM Vega 400 72x108

As requested

Senn.

Ross Vision

3 8-ch. EVS

Utah Scientific (288x288)

As requested

Senn.

Ross Carbonite

1 8-ch. EVS

Ross (144x144)

ChyronHego Mosiac & Ross XPression

Senn., Sony, A-T

GV Kayenne K-Frame, 4.5M/E

1 EVS XT3 12-ch., 1 EVS XT3 6-ch.; 1 EVS 4-ch. XS3

Utah Scientific 400 Series 2 (528 router 254x456 SD/HD/3G, 72x72 disembed/re-embed, 12x12 fiber and 9x9 madi)

Client supplied

Senn., A-T

GV Kayenne K frame, 9M/E

3-6-ch. 1-4ch. RO SpotBox EVS

Evertz (280x458/1312x1696)

Client supplied

Senn., A-T

GV Kayenne K-Frame, 5M/E

3-6-ch. EVS

Evertz (280x442/1312x1696)

Vizrt ChyronHego HyperX3

Senn., A-T

GV Kayenne K-Frame, 9M/E

4-8-ch., 1-4-ch. EVS

Evertz (268x812/704x800)

Vizrt ChyronHego HyperX3

Senn., A-T

GV Kayenne, 4.5M/E

1-12-ch, 1-8-ch. 2-6-ch. EVS

PESA (256x496/512x512)

Vizrt ChyronHego HyperX3

Senn., A-T

GV Kayenne K-Frame, 5M/E

3-6-ch. 1-4-ch. RO, 1 4-ch. EVS

GV (256x448/256x256)

Vizrt ChyronHego HyperX3

Senn., A-T

GV Kayenne, 4.5M/E

1-12-ch., 1-8-ch. 2-6-ch. EVS

GV (256x448/256x256)

ChyronHego HyperX3

Senn., Beyer, A-T

GV Kayenne K-Frame, 7M/E

4-12-ch., 1-6-ch. EVS

Evertz (492x746/2016x2016)

Vizrt, ChyronHego HyperX3

Senn., Beyer, A-T

GV Kayenne K-Frame, 7M/E

4-12-ch. EVS

Evertz (260x784/1344x1504)

Vizrt, ChyronHego HyperX3

Senn., Beyer, A-T

GV Kayenne K-Frame, 7M/E

4-12-ch., 1-6-ch. EVS

Evertz (460x902/2720x3328)

Vizrt, ChyronHego HyperX3

Senn., Beyer, A-T

GV Kayenne K-Frame, 7M/E

4-8-ch. 1-6-ch. EVS

GV (396x770/992x1184)

Vizrt ChyronHego HyperX3

Senn., A-T

For A 490 2M/E

1-6-ch.

Ross Ultrix (64x64/1152x1152)

n/a

Senn., A-T

GV Kayenne K-Frame, 7M/E

4-12-ch. EVS

Evertz (384x784/2976x2976)

Client supplied

Senn., A-T

GV Kayenne K-Frame, 5M/E

1-12-ch., 2-8-ch., 4-ch. EVS

GV (252x378/992x1184)

Client supplied

Senn., A-T

GV Kayenne K-Frame, 5M/E

1-12-ch., 2-8-ch. EVS

GV (144x288/1856x1856)

Client supplied

Senn., A-T

GV Kayenne K-Frame, 3M/E

3-6-ch., 4-ch. EVS

GV (144x288/640x640)

Client supplied

Senn., A-T

GV Kayenne K-Frame, 5M/E

2-8-ch., 4-ch. EVS

GV (144x288/640x640)

ChyronHego HyperX3

Senn., A-T

GV Kayenne K-Frame, 2.5M/E

2-7-ch., 4-ch. EVS

GV (144x288/640x640)

Client supplied

Senn., A-T

GV Kayenne K-Frame, 3.5M/E

3-6-ch., 4-ch. EVS

GV (192x252/1088x1088)

Client supplied

Senn., A-T

GV Kayenne K-Frame, 5M/E

2-7-ch., 4-ch. EVS

GV (144x288/1600x1600)

SPORTS PRODUCTION 2023 YEARBOOK

Gearbase

GRAPHICS

217



AERIALS • 4K/UHD • POV WIRELESS COMMUNICATIONS RF SUPPORT TRUCKS www.aerialvideo.com | 818.954.8842


LIVE MEDIA GROUP - TNDV MOBILE TV GROUP

METROVISION

MEDIAPRO

Gearbase

COMPANY

220

TRUCK NAME

DIMENSIONS/TYPE

SD/HD/1080P/ 4K-CAPABLE/HDR

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE

CAMERAS

LENSES (H/HH)

Exclamation

53' double expando

HD/1080p/4K/HDR

Fiber

Studer Vista X

10 Sony

Aspiration

40' expando

HD/1080p/HDR

Fiber

Studer Vista V

8 Hitachi

Sallie

40' expando

HD

Triax

Calrec Artemis (24/340)

8 GV

Elevation

40'

HD

Fiber

Soundcraft Vi3000

8 Hitachi

Inspiration

40'

HD

Fiber

Soundcraft Vi3000

8 Hitachi

Destination

40' expando

HD

Fiber

Soundcraft Si XPression

6 Hitachi

Odyssey

40' expando

HD/1080p/4K

Fiber

Calrec Artemis (40/196)

10 Sony HDC-4300

2 Fujinon 107X, 4 Fujinon 20X, 4 Fujinon WAL 2 Canon 100X, 2 Fujinon 20X, 4 Fujinon WAL 3 Canon 86X, 4 Canon 22X, 1 Canon WAL 3 Canon 72X, 4 Fujinon 20X, 1 Fujinon WAL 3 Canon 72X, 4 Fujinon 20X, 1 Fujinon WAL 2 Fujinon 66X, 2 Fujinon 20X, 2 Fujinon WAL 5 Canon 90x / 3 Canon 25x / 2 Canon WA

Alto

53' expando

HD/1080p

Fiber

Calrec Alpha (76/108)

10 Sony HDC-2500

5 Canon 90x / 3 Canon 25x / 2 Canon WA

Omega

40' expando

HD/1080p

Fiber

Calrec Omega (48/96)

10 Sony HDC-2500

4 Canon 90x / 4 Canon 25x / 2 Canon WA

Delta

45' straight

HD

Fiber

Yamaha PM5D (48/96)

8 Sony HDC-2500

4 Canon 86x / 3 Canon 25x / 1 Canon WA

Eclipse

36' straight

HD

Fiber

Yamaha PM5D (48/96)

8 Sony HDC-2500

Cirrus

36' expando

HD

Fiber

Yamaha MC7L (48/56)

8 Sony HDC-2500

Stratus

34' straight

HD

Fiber

Yamaha MC7L (48/56)

8 Sony HDC-2500

4 Canon 86x / 3 Canon 25x / 1 Canon WA 4 Canon 72x / 3 Canon 22x / 1 Canon WA 1 Canon 100x / 3 Canon 72x / 3 Canon 22x / 1 Canon WA

HD1

40' expando

HD

6 Sony HDC-1500

3/3 +

HD2

40' expando

HD

6 Sony HDC-1500

3/3 +

HD5

40' expando

HD

7 Sony HDC-1500

4/4 +

23 HDX

48' expando

HD

Both

Euphonix

GV / Sony

6 Canon 72X9.3, 2 Canon 18X7.8 ENG, 1 Canon 17X7.6 ENG

24 HDX

48' expando

HD

Both

Euphonix

GV / Sony

6 Canon 72X9.3, 2 Canon 17X7.6 ENG, 1 Canon 11X4.7 wide-angle ENG

25 HDX

53' expando

HD

Both

Euphonix

GV / Sony

7 Canon 72X9.3, 3 Canon 17X7.6 ENG, 1 Canon 10X4.5 wide-angle ENG

28 HDX

53' expando

HD

Both

Euphonix

GV / Sony

Canon 72X9.3 long lenses, Canon 17X7.6 ENG lenses,

29 HDX

53' expando

HD

Both

Calrec

GV / Sony

Canon 72X9.3 long lenses, Canon 17X7.6 ENG lenses,Fujinon 17x4.5 ENG lenses

30 HDX

53' expando

HD

Both

Calrec

GV / Sony

Canon 72X9.3 long lenses, Canon YJ18x9B ENG lens, Canon 17X7.6 ENG lenses, Canon 10x4.5 wideangle ENG lens

31 HDX

53' expando

HD

Both

Calrec

GV / Sony

Canon 72X9.3 long lenses, Canon 17X7.6 ENG lenses

32 HDX

53' expando

HD

Both

Euphonix

GV / Sony

Canon 72X9.3 long lenses, Fujinon 18x5.5 ENG lenses, Canon 17X7.6 ENG lenses

33 HDX

53' expando

HD

Both

Calrec

GV / Sony

Canon XJ95X8.6B long lens, Canon 76X9 long lenses, Canon 17X7.6 ENG lenses, Canon 11X4.7 wideangle ENG lens

Fiber (Triax w/ adapter) Studer Vista 5 (32 AES, 32 analog) Fiber (Triax Calrec Omega w/ Bluefin (64 AES, w/ adapter) 64 analog) Fiber (Triax Calrec Omega (32 AES, 64 w/ adapter) analog)

33 VMU

53'

HD

Both

Studer

GV / Sony

34 HDX

53' expando

HD

Both

Calrec

GV / Sony

34 VMU

53'

HD

Both

Studer

GV / Sony

35 HDX

53' expando

HD

Both

Calrec

GV / Sony

SPORTS PRODUCTION 2023 YEARBOOK

Access to: Canon XJ95X8.6B long lens, Canon 76X9 long lenses, Canon 72X9.3 long lens, Canon 17X7.6 ENG lenses, Canon 11X4.7 wide-angle ENG lens Canon XJ95X8.6B long lens, Canon 76X9 long lenses, Canon 72X9.3 long lenses, Canon 17X7.6 ENG lenses, Canon 11X4.7 wide-angle ENG lens Access to: Canon XJ95X8.6B long lens, Canon 76X9 long lenses, Canon 72X9.3 long lenses, Canon 17X7.6 ENG lenses, Canon 11X4.7 wide-angle ENG lens Canon XJ95X8.6B long lens, Canon 76X9 long lenses, Canon 72X9.3 long lens, Fujinon 18X5.5 ENG lenses, Canon 17X7.6 ENG lenses

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities


MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Ross XPression

Senn., A-T

GV Kayenne K-Frame, 5M/E

2-8-ch. EVS

Evertz (288x288/1024x1024)

Ross XPression

Senn., A-T

GV Kayenne K-Frame, 3M/E

2-6-ch. EVS

Evertz (198x234/1024x1024)

Ross XPression

Senn., A-T

GV Kayenne, 2.5M/E

3-6-ch. EVS

GV (144x252/256x256)

Ross XPression

Senn., A-T

GV Kayenne K-Frame, 3M/E

2-6-ch. EVS

Imagine (96x96)

Client supplied

Senn., A-T

GV Kayenne, 2.5M/E

1-8-ch. Ross Mira

Imagine (96x96)

Client supplied

Senn., A-T

Ross Carbonite 3M/E

1-8-ch. Ross Mira

GV (64x64) Imagine 512x432 / 256x256 AES / 16x16 fiber

Chyron, Vizrt & XPression available

10 Senn. / 6 EV / 6 Sony

GV Kayenne 4.5M/E

Chyron, Vizrt & XPression available

10 Senn. / 6 EV / 6 Sony

GV Kayenne 6M/E

Chyron, Vizrt & XPression available

10 Senn. / 6 EV / 6 Sony

GV Kayenne 2.5M/E

2 EVS XT4 12-ch. / 1 EVS 4-ch. spotbox 2 EVS XT3 12-ch. / 1 EVS 6-ch. spotbox 2 EVS XT3 12-ch. / 1 EVS 4-ch. spotbox

Chyron, Vizrt & XPression available

10 Senn. / 6 EV / 6 Sony

GV Karrera 4M/E

2 EVS XT3 8-ch.

Nvision Plus 320x512 / 1024x1024 AES

Chyron, Vizrt & XPression available

10 Senn. / 6 EV / 6 Sony

Sony MVS-8000X 3M/E

1 EVS XT3 12-ch.

Imagine 112x112 / 96x96 AES

Chyron, Vizrt & XPression available

10 Senn. / 6 EV / 6 Sony

Sony MVS-8000X 3M/E

1 EVS XT3 8-ch.

Imagine 64x64 / 64x64 AES

Chyron, Vizrt & XPression available

10 Senn. / 6 EV / 6 Sony

Ross Extreme 2M/E

1 EVS XT3 8-ch.

Talia 32x48 / 64x64 AES

ChyronHego Duet HyperX3

8 shotgun, 4 lav, 5 HH

GV Kalypso, 4M/E

2 EVS XT2, w/ XFile3

ChyronHego Duet HyperX3

8 shotgun, 4 lav, 5 HH

GV Kalypso, 4M/E

2 EVS XT2, w/ XFile3

Leitch Platinum (256x256/128x136 HD-SDI/32x32 analog) Leitch Platinum (256x256/112x96 HD-SD/8x8 analog)

ChyronHego Duet HyperX3

9 shotgun, 6 lav, 5 HH

GV Kayenne, 2.5M/E

2 EVS XT2, w/ XFile3

Evertz Xenon (128x128)

Vizrt, Chyron

A-T, Senn., Sony, EV

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

GV Trinix video, Euphonix audio

Vizrt, Chyron

A-T, Senn., Sony, EV

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

PESA video, Euphonix audio

Vizrt, Chyron

A-T, Senn., Sony, EV

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

PESA video, Euphonix audio

Vizrt, Chyron

A-T, Senn., Sony, Røde

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

GV Trinix video, Euphonix audio

Vizrt, Chyron

A-T, Senn., Sony, Røde, EV

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

GV Trinix video, Calrec audio

Vizrt, Chyron

A-T, Senn., Sony, EV

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

GV Trinix video, Calrec audio

Vizrt, Chyron

A-T, Senn., Sony, Crown

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

GV Trinix video, Calrec audio

Vizrt, Chyron

A-T, Senn., Sony, Crown

GV Kayenne

EVS: XT2, XT3, XT4K, or VIA

GV Trinix video, Euphonix audio

Vizrt, Chyron

A-T, Senn., Sony

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Gearbase

GRAPHICS

Imagine 256x256 / 256x256 AES Imagine 128x128 / 256x256 AES

SPORTS PRODUCTION 2023 YEARBOOK

221


Facilities to Fit Most Any Requirement FHD & UHD Broadcast Mobile Units HD 720p, 1080i, 1080p 4K 1080p UHD HDR 28 Full Broadcast Mobile Units 53’, 45’, 42’ & 40’ Mobile Units 4 Hybrid Mobile Production Units 3 Satellite Transmission Units Music Mix Multitrack Audio Unit Lyon Labs & Workspace Flypacks

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MOBILE TV GROUP

Gearbase

COMPANY

224

TRUCK NAME

DIMENSIONS/TYPE

SD/HD/1080P/ 4K-CAPABLE/HDR

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE

CAMERAS

LENSES (H/HH)

35 VMU

53'

HD

Both

Studer

GV / Sony

Access to: Canon XJ95X8.6B long lens, Canon 76X9 long lenses, Canon 72X9.3 long lens,Fujinon 18X5.5 ENG lenses, Canon 17X7.6 ENG lenses

36 HDX

53' expando

HD

Both

Calrec

GV / Sony

Canon 76X9 long lenses, Canon 72X9.3 long lens, Canon 17eX7.7B ENG lens, Canon 17X7.6 ENG lenses, Canon 10X4.5 wide-angle ENG lens

36 VMU

53'

HD

Both

Studer

GV / Sony

37 HDX

53' expando

HD

Both

Calrec

GV / Sony

37 VMU

53'

HD

Both

Studer

GV / Sony

38 FLEX

53' expando

HD/4K/HDR

Both

Calrec

GV / Sony

38 VMU

53'

HD

Both

Studer

GV / Sony

39 FLEX

53' expando

HD/4K/HDR

Both

Calrec

GV / Sony

40 HDX

53' expando

HD

Both

Calrec

GV / Sony

40 VMU

53'

HD

Both

Studer

GV / Sony

41 HDX

53' expando

HD

Both

Calrec

GV / Sony

42 FLEX

53' expando

HD/4K/HDR

Both

Calrec

GV / Sony

42 VMU

53'

HD/4K/HDR

Both

Studer

GV / Sony

43 FLEX

53' expando

HD/4K/HDR

Both

Calrec

GV / Sony

43 VMU

53'

HD/4K/HDR

Both

Studer

GV / Sony

44 FLEX

53' expando

HD/4K/HDR

Both

Calrec

GV / Sony

SPORTS PRODUCTION 2023 YEARBOOK

Access to: Canon 76X9 long lenses, Canon 72X9.3 long lens, Canon 17eX7.7B ENG lens, Canon 17X7.6 ENG lenses, Canon 10X4.5 wide-angle ENG lens Canon 76X9 long lenses, Canon 72X9.3 long lens, Fujinon 18X5.5 ENG lenses, Canon 17X7.6 ENG lenses, Canon HJ 15X8 ENG lenses Access to: Canon 76X9 long lenses, Canon 72X9.3 long lens, Fujinon 18X5.5 ENG lenses, Canon 17X7.6 ENG lenses, Canon 17eX7.7B ENG lens, Canon HJ 15X8 ENG lenses Canon 95X8.6 long lens, Canon 76X9 long lenses, Canon 72X9.3 long lenses, Fujinon XA 20sX8.5 ENG lens, Fujinon 18X5.5 ENG lenses, Canon 17X7.6 ENG lenses Access to: Canon 95X8.6 long lens, Canon 76X9 long lenses, Canon 72X9.3 long lenses, Fujinon XA 20sX8.5 ENG lens, Fujinon 18X5.5 ENG lenses, Canon 17X7.6 ENG lenses Fujinon UA 107X8.4 UHD long lenses, Fujinon XA 99X8.4 long lenses, Fujinon 77X9.5 long lenses, Fujinon ZA 22X7.6 ENG lenses, Fujinon HA 18X5.5 ENG lenses Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Fujinon XA 20sX8.5 ENG lens, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses Access to: Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Fujinon XA 20sX8.5 ENG lenses, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses Canon XJ 95X8.6 long lenses, Canon XJ 80X8.8 long lenses, Canon XJ 76X9 long lens, Fujinon ZA 22X7.6 ENG lenses, Fujinon HA 18X5.5 ENG lenses, Fujinon UA 13X4.5 ENG lens Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Fujinon ZA 22X7.6 ENG lenses, Fujinon XA 20sX8.5 ENG lenses, Fujinon HA 18X5.5 ENG lenses Access to: Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Canon 72X9.3 long lens, Fujinon ZA 22X7.6 ENG lenses Fujinon XA 20sX8.5 ENG lenses, Fujinon HA 18X5.5 ENG lenses Canon XJ100X9.3B long lens, Canon XJ 95X8.6 long lenses, Canon XJ80x8.8 long lenses, Fujinon XA 20sX8.5 ENG lenses, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses Access to: Canon XJ100X9.3B long lens, Canon XJ 95X8.6 long lenses, Canon 76X9 long lenses, Canon 72X9.3 long lens, Fujinon XA 20sX8.5 ENG lenses, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses Fujinon UA 107X8.4 UHD long lens, Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Fujinon XA 20sX8.5 ENG lens, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities


MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Vizrt, Chyron

Senn.

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Miranda 3G/UHD router, Miranda audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Miranda 3G/UHD router, Miranda audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

A-T, Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3,XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame X

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

SPORTS PRODUCTION 2023 YEARBOOK

Gearbase

GRAPHICS

225




MOBILE TV GROUP

Gearbase

COMPANY

228

TRUCK NAME

DIMENSIONS/TYPE

SD/HD/1080P/ 4K-CAPABLE/HDR

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE

CAMERAS

44 VMU

53'

HD/4K/HDR

Both

Studer

GV / Sony

45 FLEX

53' expando

HD/4K/HDR

Both

Calrec

GV / Sony

45 VMU

53'

HD/4K/HDR

Both

Studer

GV / Sony

46 FLEX

53' expando

HD/4K/HDR

Both

Calrec

GV / Sony

46 B Unit

53'

HD/4K/HDR

Both

Calrec

GV / Sony

47 FLEX

53' expando

HD/4K/HDR

Both

Calrec

GV / Sony

47 VMU

53'

HD/4K/HDR

Both

Studer

GV / Sony

48 FLEX

53' expando

HD/4K/HDR

Both

Calrec

GV / Sony

48 VMU

53'

HD/4K/HDR

Both

Studer

GV / Sony

49 FLEX-CC

53' expando

HD/4K/HDR

Both

Calrec

GV / Sony

Cloud- C1

20’x 8′ x 8’6″ unit

HD/4K/HDR

Both

Calrec

GV / Sony

50 FLEX-CC

53' expando

HD/4K/HDR

Both

Calrec

GV / Sony

50 VMU

53' expando

HD/4K/HDR

Both

Calrec

GV / Sony

51 FLEX

53' expando

HD/4K/HDR

Both

Calrec

GV / Sony

SPORTS PRODUCTION 2023 YEARBOOK

LENSES (H/HH) Access to: Fujinon UA 107X8.4 UHD long lens, Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Fujinon XA 20sX8.5 ENG lenses, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Fujinon XA 20sX8.5 ENG lens, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses Access to: Fujinon XA 99X8.4 long lenses, Fujinon XA 77X9.5 long lenses, Canon 72X9.3 long lens, Fujinon XA 20sX8.5 ENG lenses, Fujinon HA 18X5.5 ENG lenses, Fujinon ZA 17X7.6 ENG lenses Canon UJ111X8.3B long lens, Canon XJ95X8.6B long lenses, Canon KJ22eX7.6B ENG lenses, Fujinon XA20sX8.5 ENG lenses, Canon CJ14EX4.3B wide-angle ENG lens Access to: Canon UJ111X8.3B long lens, Canon XJ95X8.6B long lenses, Canon 76X9 long lens, Canon KJ22eX7.6B ENG lenses, Fujinon XA20sX8.5 ENG lenses, Canon CJ14EX4.3B wide-angle ENG lenses Fujinon XA99x8.4 long lenses, Fujinon XA77x9.5 long lens, Fujinon ZA22X7.6 ENG lenses, Fujinon XA20sX8.5 ENG lenses, Fujinon HA18x5.5 ENG lenses Access to: 6 Fujinon XA99x8.4 long lenses, 3 Fujinon XA77x9.5 long lenses, 2 Fujinon ZA22X7.6 ENG lenses, Fujinon XA20sX8.5 ENG lenses, 2 Fujinon HA18x5.5 ENG lenses Canon UJ111x8.3 long lens, Canon XJ95X8.6B long lenses, Canon XJ80X8.8B long lenses, Fujinon KJ22eX7.6B lenses, Fujinon XA20sX8.5 ENG lenses, Fujinon HA18x5.5 ENG lenses Access to: Canon UJ111x8.3 long lens, Canon XJ95X8.6B lenses, Canon XJ80X8.8B long lenses, Canon XJ76x9 long lens, Fujinon KJ22eX7.6B lenses, Fujinon XA20sX8.5 ENG lenses, Fujinon HA18x5.5 ENG lenses Canon XJ95X8.6B long lenses, Canon XJ76x9 long lens, Fujinon ZA22X7.6 ENG lenses, Fujinon XA20sX8.5 ENG lenses, Fujinon HA18x5.5 ENG lenses Canon XJ95X8.6B long lenses, Canon XJ76x9 long lens, Fujinon ZA22X7.6 ENG lenses, Fujinon XA20sX8.5 ENG lenses, Fujinon HA18x5.5 ENG lenses Fujinon UA107x8.4B long lenses, Fujinon, XA99x8.4 long lenses, Fujinon XA77x9.5B long lenses, Fujinon ZA22X7.6 ENG lenses, Fujinon XA20sX8.5 ENG lenses, Fujinon HA18x5.5 ENG lenses Access to: Fujinon UA107x8.4B long lenses, Fujinon, XA99x8.4 long lenses, Fujinon XA77x9.5B long lenses, Fujinon ZA22X7.6 ENG lenses, Fujinon XA20sX8.5 ENG lenses, Fujinon HA18x5.5 ENG lenses Canon UJ111X8.3B long lens, Canon XJ95X8.6B long lenses, Canon UJ90X9B long lenses, Canon XJ76x9 long lenses, Fujinon ZA22X7.6 ENG lenses, Fujinon XA20sX8.5 ENG lenses, Fujinon HA18x5.5 ENG lenses, Fujinon ZA17x7.6 ENG lens

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities


MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Vizrt, Chyron

Senn.

GV Kayenne K-Frame X

EVS: XT2, XT3, XT4K, or VIA

Evertz HD video, EMR audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS: XT2, XT3, XT4K, or VIA

Evertz IP video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame X IP

EVS: XT2, XT3, XT4K, or VIA

Evertz IP video, EMR audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS: XT2, XT3, XT4K, or VIA

Evertz IP video, EMR audio

Vizrt, Chyron

None

None

EVS: XT2, XT3, XT4K, or VIA

Access to: Evertz IP video, EMR audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS: XT4K or VIA

Evertz IP video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame X IP

EVS: XT4K or VIA

Evertz IP video, EMR audio

Vizrt, Chyron

A-T, Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS: XT4K or VIA

Evertz IP video, EMR audio

Vizrt, Chyron

Senn.

GV Kayenne K-Frame X IP

EVS: XT4K or VIA

Evertz IP video, EMR audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS: XT4K or VIA

Evertz IP video, EMR audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS: XT4K or VIA

Evertz IP video, EMR audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS: XT4K or VIA

Evertz IP video, EMR audio

Vizrt, Chyron

Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS: XT4K or VIA

Evertz IP video, EMR audio

Vizrt

Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS: XT4K or VIA

Evertz IP video, EMR audio

SPORTS PRODUCTION 2023 YEARBOOK

Gearbase

GRAPHICS

229


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MOBILE TV GROUP MPS (ALLIANCE)

Gearbase

COMPANY

TRUCK NAME

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE

CAMERAS

53'

HD/4K/HDR

Both

Calrec

GV / Sony

MU-6 HIAWATHA

53' straight

1080i/720p switchable

Triax

Calrec Omega

12 GV LDK-8000, 2 JVC GY-HD 250 POV Cameras

MU-8 GRIZZ

45' straight

HD 1080i

Triax

Atlantic

49.5' expando

HD

Fiber

California

53' expando

HD/1080p/4K/HDR

Fiber

EN1 EN2 EN3

NEP

SD/HD/1080P/ 4K-CAPABLE/HDR

51 VMU

Chromium

53' expando w/ B unit

1080p/4K/HDR

53' expando quad w/ HD/1080p/4K/HDR fifth unit 53' expando A and HD/1080p/4K/HDR B unit 53' expando A and IP2110/ B unit HD/1080P/4K/HDR

LENSES (H/HH) Access to: Canon UJ111X8.3B long lens, Canon XJ95X8.6B long lenses, Canon UJ90X9B long lenses, Canon XJ76x9 long lenses, Fujinon ZA22X7.6 ENG lenses, Fujinon XA20sX8.5 ENG lenses, Fujinon HA18x5.5 ENG lenses, Fujinon ZA17x7.6 ENG lens 4 Angenieux 70×9.5 HD, 1 Angenieux 60×9.5 HD,3 Angenieux 26×7.8 BESM-HD, 1 Angenieux 19×7.3 BESM-HD, 1 Canon 4.5 & 1 Canon 5.5 wide angle lens

7 GV LDK-3000+, 2 Panasonic HVX 250 3 Fujinon 77x9.5 , 3 Fujinon 17x7.6, 1 Fujinon 12x4.5 Cameras, 3 Marshall 502 CVM POV Cameras Canon Calrec Artemis Beam w/ Bluefin 2 10 Sony 2500 Calrec Omega

Calrec Apollo

Sony 4300

As requested

Both

Calrec Apollo w/ Bluefin 2

11 Sony 2500/4300, 3 Sony 1500R

10 Fujinon, 8 Canon

Both

Calrec Apollo w/ Bluefin 2

20 Sony 5500

16 Canon H/7 HH, 4 wide-angle

Both

Calrec Apollo w/ Bluefin 2

14 Sony 2500/4300

Fujinon 12H/5 HH, 3 wide-angle

Both

Calrec Apollo w/ Bluefin 2

12 Sony 2500/4300

Canon 8H/4 HH, 2 wide-angle

Studer Vista X

10 Sony 4300

Fujinon

Gold

53' expando

HD/1080p

Fiber

Iridium (SS26)

53' expando w/ B unit

HD

Both

M11HD

53' expando

HD

Both

M12HD

53' expando

HD

Both

M14HD

53' expando

HD/1080p

Both

12 Sony 2500/4300, 3 Sony 1550 10 Sony 1450, 1 Sony Calrec Sigma w/ Bluefin 3300, 1 Sony 4300 10 Sony 2570, 2 Sony Calrec Artemis Beam w/ Bluefin2 4300 11 GV 8000, Sony Calrec Artemis Beam w/ Bluefin2 3300, 1 Sony1 4300

M15

53' expando

IP/HD/1080p/4K/ HDR

Both

Calrec Artemis Beam w/Bluefin2

12 GV LDX 86

Fujinon 6H/3 HH, 2 wide-angle

M7HD

53' expando

HD

Both

Calrec Sigma w/ Bluefin

6 GV LDX80

Fujinon 7H/3HH, 2 wide-angle

NCPII

53' expando

HD

Both

Calrec Artemis Beam w/ Bluefin 2

10 Sony 2500

Canon 8H/4 HH, 2 wide-angle

NCPVII

53' expando w/ B unit

HD

Both

Calrec Alpha w/ Bluefin

13 Sony 2500, 2 Sony 4300

Canon 5H/5 HH, 5 wide-angle

NCPX

53' expando

HD/1080p

Both

Calrec Alpha w/ Bluefin

14 Sony 2500/4300

Canon 8H/2 HH, 2 wide-angle

NCPXI

53' expando

HD/1080p/4K

Both

Calrec Artemis Beam w/ Bluefin

12 Sony 2500/4300

Canon 6H/4 HH, 4 wide-angle

NCPXIV

53' expando

HD

Both

Calrec Artemis Beam w/Bluefin2

10 Sony 2500

Canon 5H/3 HH, 8 wide-angle

Both

Calrec Apollo w/ Bluefin2

18 Sony 5500, 6 Sony 4300, 6 Sony 3500

Canon 19H/10 HH, 6 wide-angle

ND1

232

DIMENSIONS/TYPE

53' expando twin w/ C HD/1080p/4K/HDR and D unit

Calrec Sigma

Canon 8H/6 HH, 2 wide-angle Fujinon 7H/5 HH, 2 wide-angle Fujinon 7 H/5 HH, 4 wide-angle Fujinon 10 H/3 HH, 3 wide-angle

ND5

53' expando

HD

Both

Calrec Artemis Shine w/ Bluefin 2

12 Sony 2500/4300

Canon 6H/6 HH, 2 wide-angle

ND6

53' expando

HD/1080p/4K/HDR

Both

Calrec Artemis Shine w/ Bluefin2

12 Sony 3500/4300

Canon 6H/6 HH, 2 wide-angle

ND7

53' expando w/ B and D unit

HD

Both

Calrec Apollo w/ Bluefin 2

12 Sony 2500/4300

Canon 8H/11 HH, 9 wide-angle

Silver

53' expando

1080p HDR

Fiber

Calrec Apollo

Sony 4300

As requested

SS1

53' expando

HD/1080p/4K

Both

Calrec Apollo w/ Bluefin 2

11 Sony 2500/4300

8 Fujinon, 4 Canon

SS11

53' expando

HD

Triax

Calrec Omega w/ Bluefin

8 Sony 1500

Canon 7H/4 HH, 2 wide-angle Canon 6H/ 2 HH, 2 wide-angle

SS14

53' expando

HD

Fiber

Calrec Alpha

6 Sony 1000, 5 Sony 1500

SS16

53' expando

HD

Both

Calrec Sigma w/ Bluefin

12 Sony 2500/4300

Canon 6H/4 HH, 1 wide-angle

SS18

53' expando

HD

Both

Calrec Sigma w/ Bluefin

13 Sony 2500/4300

Canon 4H/6 HH, 2 wide-angle

SS20

53' expando

HD

Both

Calrec Sigma w/ Bluefin

12 Sony 2500/4300

14 Canon, 2 Fujinon

SS24

53' expando twin w/ third unit

HD

Both

Calrec Apollo w/ Bluefin 2

9 Sony 2500/4300, 3 Sony 2000

Canon 6H/7 HH, 2 wide-angle

SPORTS PRODUCTION 2023 YEARBOOK

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities


MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

Vizrt

Senn., Sony, Crown

GV Kayenne K-Frame X IP

EVS: XT4K or VIA

Evertz IP video, EMR audio

Chyron HyperX3 HD Graphics System / Ross XPression 9.5 Software 2-channel Data Link

Shure, Senn.

GV Kayenne 4M/E

1 EVS 6-ch., 2 EVS 4-ch.

QuStream PESA 256x, 128×208 HD SDI router

Chyron HyperX3 / Ross XPression 9.5 Software 2-channel Data Link

EV, Sony, Shure, Senn.

GV Kayenne 2.5M/E

2 x 6-ch. EVS XT Nano, EVS X File

Utah Scientific 400S

As requested

Senn.

GV Karrera, 2.5M/E

Evertz EQX, EMR

As requested

As requested

GV Kayenne K-Frame

Upon request

Senn., Shure, Sony

GV Kayenne K-Frame, 5M/E

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 9M/E

As requested

Senn., Studio Tech, EV

GV Kayenne K-Frame, 5.5M/E

As requested

Senn., EV and Sony

GV Kayenne K-Frame

Upon request Up to 16 VTRs and 5 servers as requested 4 6-ch., 1 12-ch. EVS XT3, 1 6-ch. XT3 SpotBox 8 12-ch. EVS XT VIA, 2 6-ch. XS VIA SpotBox 6 8-ch. 3 12-ch. EVS XT3, 6-ch. XT3 SpotBox 6 12-ch. EVS XT4K, 1 6-ch. EVS 4K SpotBox

As requested

Senn., Shure

GV Kayenne X-Frame

Up to 20 VTRs as requested

Evertz EQX, EMR

Upon request

Senn., Shure

GV Kayenne K-Frame, 9M/E

5 6-ch. EVS XT3, 1 4-ch. XT3 SpotBox

Evertz EQX mux/demux, EMR PESA mux/demux, DRS audio

Evertz EQX mux/demux, EMR Evertz EQX mux/demux, EMR NEP TFC/Arista IP Router Evertz EQX mux/demux, EMR Evertz EXE HD video

ChyronHego HyperX3

Senn., Beyer, Shure, Sony

GV Kayenne K-Frame, 5M/E

ChyronHego HyperX3

Senn., Beyer, Shure, Sony

GV Kayenne, 5M/E

ChyronHego HyperX3

Senn., Beyer, Shure, Sony

GV Kayenne K-Frame, 5M/E

ChryonHego Mosaic

Senn.

GV Kayenne K-Frame, 5.5M/E

ChyronHego Mosaic XL

Senn., Beyer, Shure, Sony

GV Kayenne K-Frame

ChryonHego Hyper X3.1

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 5M/E

Upon request

Senn., Sony, EV, Shure

GV Kayenne X-Frame, 9M/E

ChryonHego Hyper X3

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 5M/E

ChryonHego Hyper X3

Senn., Sony, EV, Shure

GV Kayenne X-Frame, 5.5M/E

ChryonHego Mosaic XL

Senn., Sony, EV, Shure

GV Kayenne

2 8-ch., 3 6-ch. EVS XT3, 1 4-ch. XS3 SpotBox 2 12-ch., 2 8-ch. EVS XT3, 1 6-ch. XS3 SpotBox 3 12-ch., 2 8-ch. EVS XT VIA, 1 6-ch. XS VIA SpotBox 3 12-ch., 1 8-ch. EVS XT3, 1 6-ch. XS SpotBox 3 12-ch., 2 8-ch. EVS XT3, 1 6-ch. XS3 SpotBox 2 12-ch., 2 8-ch. EVS XT3, 1 6-ch. XS3 SpotBox 1 12-ch., 1 8-ch., 7 6-ch., 1 12-ch. EVS XT3, 1 6-ch. XS3 SpotBox 5 6-ch. EVS XT3, 2 12-ch. EVS VIA, 2 6-ch. XT3 SpotBox 5 12-ch. EVS VIA, 1 6-ch. XS3 SpotBox 2 12-ch., 2 8-ch EVS XT3, 1 6-ch. XS3 SpotBox

ChryonHego Mosaic XL

Senn., Shure, Sony

GV Kayenne K-Frame, 9M/E

14 12-ch. XTVIAs, 1 6-ch. SpotBox

Evertz EQX mux/demux, EMR PESA mux/demux, DRS audio

334x462 HD/96x96 AES, 48x96 stereo GV SIRIUS Enterprise Router Lawo IP Router PESA mux/demux, DRS audio Utah Scientific, mux/demux Utah Scientific mux/demux Utah Scientific mux/demux Utah Scientific mux/demux Utah Scientific mux/demux

ChryonHego Hyper X3, Mosaic XL

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 5M/E

ChryonHego Mosaic XL

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 5M/E

As requested

Senn., Sony

GV Kayenne K-Frame, 9M/E

5 12-ch., EVS XT3, 1 4-ch. XS3 SpotBox 5 12-ch. EVS XT VIA, 1 6-ch. XS VIA SpotBox 8 12-ch. EVS XT3, 1 6-ch. XT3 SpotBox

As requested

As requested

GV Kayenne K-Frame

As requested

Evertz EQX mux/demux, EMR

ChryonHego Hyper X3.1

Senn., Sony

GV Kayenne K-Frame

5 12-ch. XT3 1 6-ch. XS3 SpotBox

Evertz EQX, EMR

ChryonHego Hyper X3

Senn., Sony, EV, Shure

GV Kalypso, 4M/E

2 6-ch. EVS XT3, 1 6-ch. XS3 SpotBox

GV Concerto

ChryonHego Hyper X3

Senn., Sony, EV, Shure

GV Kalypso, 4M/E

4 6-ch. EVS XT3, 1 4-ch. XT3 SpotBox

Thompson

ChryonHego Hyper X3

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 9M/E

5 6-ch. EVS XT3, 1 6-ch. XT3 SpotBox

PESA mux/demux, DRS audio

2 12-ch., 2 8-ch. EVS XT3, 1 6-ch. XS3 SpotBox 2 12-ch. EVS XT3, 2 8-ch. XT3, 1 4-ch. XS3 SpotBox 2 12-ch., 1 8-ch. XT3, 1 6-ch XT3 SpotBox

PESA mux/demux, DRS audio

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 9M/E

ChryonHego Hyper X3

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 9M/E

ChryonHego Mosaic

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 9M/E

Gearbase

GRAPHICS

PESA mux/demux, DRS audio PESA mux/demux, DRS audio

PESA mux/demux, DRS audio Evertz EXE mux/demux, EMR

SPORTS PRODUCTION 2023 YEARBOOK

233


Live Sports Production. Covered. NEW & USED EQUIPMENT SALES UHD & HD EQUIPMENT HIRE SYSTEMS INTEGRATION OB TRUCK SALES

Sales and Integration +1 908-500-0532 sales.usa@esbroadcast.com Broadcast Hire +1 407-601-6926 usbookings@esbroadcasthire.com esbroadcast.com



Gearbase

COMPANY

TRUCK NAME

DIMENSIONS/TYPE

SD/HD/1080P/ 4K-CAPABLE/HDR

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE

CAMERAS

LENSES (H/HH)

SS29

53' expando

HD/1080p/4K/HDR

Both

Calrec Artemis Beam w/ Bluefin2

12 Sony 3500/4300

Canon 6H/ 4 HH, 2 wide-angle

SS32

53' expando

HD/1080p/4K/HDR

Both

Calrec Apollo w/ Bluefin 2

12 Sony 3500/4300

Fujinon 6H/9 HH, 2 wide-angle

SS4

53' expando twin w/ third unit

IP2110/ HD/1080P/4K/HDR IP2110/ 53' expando w/ B unit HD/1080P/4K/HDR IP2110/ 53' expando w/ B unit HD/1080P/4K/HDR 53' expando triple w/ IP/HD/1080P/4K/ fourth unit HDR

Both

Calrec Apollo w/Bluefin 2

13 Sony 3500/4300, 3 Sony 5500

20 Canon, 2 Fujinon

Both

Calrec Apollo w/Bluefin 2

12 Sony 3500

Canon 6H/4 HH, 2 wide-angle

Both

Calrec Apollo w/Bluefin 2

13 Sony 3500/4300

Canon 8H/ 8 HH, 3 wide-angle

Both

Calrec Apollo w/Bluefin 2

21 Sony 3500/4300

11 Canon, 21 Fujinon

SS8 SS9

NEP

SSCBS Summit

53' expando twin

HD/1080p/4K

Fiber

Calrec Apollo w/Bluefin

12 Sony 5500

Canon 2H/4HH, 8 wide-angle

TS2

53' expando twin

HD/1080p/4K

Both

Calrec Apollo w/ Bluefin 2

14 Sony 3500/5500

Canon 9H/4 HH, 1 wide-angle

53' expando w/ B unit HD/1080p/4K/HDR

Both

Studer Vista

12 Sony 4300

16 Fujinon

SS5

53' expando twin w/ third unit

Both

Calrec Apollo w/Bluefin 2

12 Sony 3500/5500

17 Canon

SS6

53' expando

IP2110/ HD/1080P/4K/HDR IP2110/ HD/1080P/4K/HDR

Both

Calrec Apollo w/Bluefin 2

12 Sony 3500/5500

Canon 8H/5 HH, 2 wide-angle

SS61

53' expando

HD

Both

Calrec Alpha

13 Sony 2500/1500

9 Canon, 5 Fujinon

SS62

53' expando

IP/HD/1080p

Both

Calrec Artemis Beam w/ Bluefin 2

Sony

n/a

Both

Calrec Apollo w/ Bluefin 2

12 Sony 3500/5500

n/a

Both

Calrec Apollo w/ Bluefin 2

26 Sony 5500

n/a

(10) Sony HDC-4300 4K/UHD/HD Fiber Cameras

(4) Fujinon UA 107 x 8.4 BESM Semi-Servo 4K Lens, (6) Fujinon UA 22 x 8 Plus Premier 4K Lens, (2) Fujinon UA 13 x 4.5 Plus Premier 4K Lens

Yukon

SS7

PURE MOBILE PRODUCTIONS

ND2

ROSS PRODUCTION SERVICES

RAYCOM SPORTS

236

IP/HD/1080P/4K/ HDR 53' expando twin w/ C IP/HD/1080p/4K/ and D unit HDR 53' expando w/ B unit

Wasatch

53' expando

4K/1080p

Both

Calrec Artemis Light; 56 Fader Panel Console with; (240) Channels DSP

Stockton

51' expando

1080i

Both

Calrec Artemis 4096x4096, Full redundancy 36+8 multi layer faders, Hydra 2 I/O, Full 5.1 capable mixing

8 Sony HDC 1400r Fiber Cameras

4 Fujinon 88x Lenses, 2 Fujinon 77x Lenses, 2 Fujinon 22x7.5 Lenses, 1 Fujinon 4.5 WA Lens

10 Sony HDC 2400L HD cameras, 2 Sony HDC 6 Canon 95x Lenses, 4 Canon 22x 4300 SSMO Camera 7.5 Lenses, 2 Canon 4.5 WA Lenses Systems

Malone

51' expando

1080i

Fiber

Calrec Summa 128 with 36+8 Faders with 4096x4096 Core, Full 5.1 Capable (Encoders/Decoders by request), (1) 32x32 Analog I/O, (1) 64x64 AES I/O, (1) 128x128 MADI I/O for Truck I/O

Olympus

40' expando

1080i

Fiber

Soundcraft Vi9 Audio Console

6 Sony HDC 1400r Fiber Cameras

3 Fujinon 77x Lenses, 2 Fujinon 22x Lenses, 1 Fujinon 4.5WA Lenses

Bulldog

30' expando

4K/1080p

Fiber

Calrec Summa 128 Channels

8 Sony 2400r Fiber Cameras

2 Canon 86x Lenses, 2 Canon 72x Lenses, 2 Canon 22x Lenses, 1 Canon 4.5WA Lens

RHD1 RHD3 (Pheonix)

53' expando 48' expando

1080p 1080p

Both Triax

9 - Sony 3500 9 - Sony 2550

6 -86x, 3-22x, 1 11x 6- 80x, 2 22x, 2 11x

Silver

23' Sprinter, 16' B-Unit

HD

Triax

6 Ikegami HDK-95C

Canon 2 60X, 2 22X, 2 10x (additional lenses as needed)

FIN3

24' Sprinterm 16' B-Unit

HD/1080p/4Kcapable

Both

6 Sony HDC-3500 Cameras, with 3x Super Mo

Canon 2 60X, 1 80X, 2 22X, 1 10X (additional lenses as needed)

FIN4

24' Sprinter, 16' B-Unit

HD/1080p/4Kcapable

Both

Calrec Omega Calrec Artemis Soundcraft EXPression 3 (30 faders/64 analog inputs/24 analog outputs/18 AES inputs/34 AES outputs ) Soundcraft EXPression 3 (30 faders, 64 analog inputs/24 analog outputs/18 AES inputs/34 AES outputs ) Calrec Brio 36 (36 Faders, 96 input channels, 5.1 Capable, 2 Fiber Field Kits)

6 Sony HDC-3500 Cameras, with 3x Super Mo

Canon 2 60X, 1 80X, 2 22X, 1 10X (additional lenses as needed)

SPORTS PRODUCTION 2023 YEARBOOK

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities


MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

As requested

Senn., Sony, EV, Shure

GV Kayenne K-Frame, 8M/E

Evertz EQX mux/demux, EMR

As requested

As requested

GV Kayenne K-Frame, 9M/E

As requested

Senn.

GV Kayenne X-Frame, 9M/E

As requested

Senn.

GV Kayenne X-Frame, 5.5M/E

As requested

Senn.

GV Kayenne X-Frame, 9M/E

As requested

A-T, Senn.

GV Kayenne K-Frame, 9M/E

As requested

As requested

GV Kayenne K-Frame

ChryonHego Hyper X3

Senn.

GV Kayenne K-Frame, 4M/E

3 12-ch., 1 8-ch. EVS XT VIA, 1 6-ch. XS VIA SpotBox 5 12-ch. EVS XT VIA, 1 6-ch. XS VIA SpotBox 6 12-ch. EVS VIAs, 1 6-ch. XSVIA SpotBox 2 12-ch., 1 8-ch. XT-VIA, 1 6-ch. XTVIA SpotBox 2 12-ch., 3 8-ch. XT VIA, 1 6-ch. XT-VIA SpotBox 8 12-ch. XT VIA, 1 6-ch. XS VIA SpotBox 20 VTRs or 7 EVS on request, 2 SpotBox 5 12-ch. EVS XT VIA, 1 6-ch. XS VIA SpotBox

Upon request

Senn., Shure

GV Kayenne K-Frame, 9M/E

Wired for 6 EVS

Evertz EQX mux/demux, EMR NEP TFC/Arista IP Router

Evertz EQX mux/demux, EMR NEP TFC/Arista IP Router Lawo IP Router NEP TFC/Arista IP Router Evertz EQX/EXE mux/demux, EMR Evertz Evertz EQX 3G

As requested

Senn.

GV Kayenne X-Frame, 9M/E

As requested

Senn.

GV Kayenne X-Frame, 9M/E

5 12-ch. EVS XT VIA, 1 6-ch. XS VIA SpotBox 5 12-ch EVS XT VIA, 1 6-ch. XS VIA SpotBox

Upon request

n/a

Wired for 16 input production switcher

n/a

n/a

Wired for 2 graphics machines

n/a

n/a

Wired for 4 EVS servers

NEP TFC/Arista IP Router

Wired for 3 graphics machines

n/a

GV Kayenne X-Frame, 9M/E

Wired for 6 graphics machines

n/a

GV Kayenne X-Frame, 9M/E

Wired for (2) 2-Channel HD or (1) 1-Channel 4K/UHD Graphic/ Character Generators, Chyron Mosaic or Ross XPression

(4) Senn. MKH 70 Shotgun Microphones (10) Senn. MKH 416 Shotgun Microphones, (6) Sony ECM-77B Lavalier Microphones, (6) Senn. MD46 Handheld Microphones

(1) GV 5M/E Kayenne Switcher, K-Frame

Chyron Mosiac Duo

(4) Senn. MKH 70 Shotgun Microphones (10) Senn. MKH 416 GV Kayenne HD Switcher 4.5 ME, 96 Shotgun Microphones, (6) Sony ECM-77B Lavalier Microphones, (6) Input, 48 outputs, 6 Keyers per ME Senn. MD46 Handheld Microphones

Chyron Mosiac Duo

(4) Senn. MKH 70 Shotgun Microphones (10) Senn. MKH 416 Shotgun Microphones, (6) Sony ECM-77B Lavalier Microphones, (6) Senn. MD46 Handheld Microphones

Chyron Mosiac Duo

Ross XPression 4K Datalync Vizrt, Chyron Vizrt, Chyron

GV Kayene Classic HD Switcher: 4.5 ME 35 Button Control Surface, 96 Input, 48 Output, 6 Keyers per ME, Flexikey and DoubleTake, AMP, 2 Floating ChromaKeyers, Machine Control Module

Gearbase

GRAPHICS

NEP TFC/Arista IP Router

Wired for up to 9 EVS servers and NEP TFC/Arista IP Router 1 Spotbox Wired for up to 22 EVS servers and NEP TFC/Arista IP Router 1 Spotbox (2) EVS XT-4K, 12-Channel UHD/ HD Servers, each with LSM and Imagine Communications Platinum EVS Connect Controllers*, Wired to IP3 with (533) 3G Inputs (622) 3G support (4) EVS 12-Channel Servers, Outputs (1) EVS X-File3 With 10Gb Network PESA CHEETAH 288x400 HD/3G Video Router 288XE+populated to 288x400 (288x576 capable), 144 de-embedding inputs (2304 audio (1)12 channel XT3 EVS, (3) 6 channels), 144 embedding outputs Channel XT3 EVS, (1) XS Spotbox (2304 audio channels), 3 E-DXE Audio Routers (4608x4608 channels), 768x768 Madi In/Out Calrec Interface, 128x128 analog in/out (2) EVS XT3 4RU XRec LSM: 7-ch. PESA Cheetah 128XE HD/3G capable as a single 4 In/3 Out LSM Router, Redundant PERC 3000 or 6 In/1 Out LSM, (1) EVS XS 4RU System Controllers, Populated as SpotBox: 4-ch. capable as a single 128x256, with 32x64 of those as 4 Out SpotBox with Lance Design deembedders and embedders, TDC-100, (1) EVS XHub3 3gbps SDTI 256x256 Calrec/PESA MADI network for EVS clip shares (1) EVS Interface, 128x128 Analog I/O and XFile3 for clip ingest and export" 64x64 AES I/O

(4) Senn. MKH 70 Shotgun Microphones (10) Senn. MKH 416 2 EVS XT2 6 Channel LSM, 1 EVS XS Shotgun Microphones, (6) Sony None Spotbox, 1 EVS Xhub3 ECM-77B Lavalier Microphones, (6) Senn. MD46 Handheld Microphones (4) Senn. MKH 70 Shotgun Microphones (10) Senn. MKH 416 3M/E GV Kayenne K Frame 12 Channel EVS XT4K with dual Shotgun Microphones, (6) Sony operator config ECM-77B Lavalier Microphones, (6) Switcher 80 HD Inputs / 20 4K HDR Senn. MD46 Handheld Microphones n/a GV KFrame, 4M/E EVS XT VIA 22-ch. n/a GV Kayenne, 3M/E EVS XT3 16-ch.

PESA Cheetah 128x128 HD/3G router

144x144 Ross 12G Ultrix Router Evertz - 170x134 Evertz - 160x160

(3) Ross XPression Graphics Servers

n/a

Ross Carbonite Black Plus

EVS XT Nano, Ross Abekas Mira+

n/a

(3) Ross XPression Graphics Servers

n/a

Ross Carbonite Black Plus

EVS XT Nano, Ross Abekas Mira+

Ross Ultrix FR5 160x160

(3) Ross XPression Graphics Servers

n/a

Ross Carbonite Black Plus

EVS XT Nano, Ross Abekas Mira+

n/a

SPORTS PRODUCTION 2023 YEARBOOK

237



Our infrastructure. Your imagination. Infinite possibilities.

We’re creating a world where “what if” can become “what is.” Our infrastructure is behind the revolutionary technologies that are transforming the way we live, work and experience the world. With more than 25 years of experience and an unparalleled national portfolio of towers, small cells and fiber, we’re bringing the world’s biggest ideas and innovations to the people and businesses that need them. CrownCastle.com

©2022 Crown Castle CC-1122-0335


ROSS PRODUCTION SERVICES

Gearbase

COMPANY

TRUCK NAME

DIMENSIONS/TYPE

SD/HD/1080P/ 4K-CAPABLE/HDR

TRIAX, FIBER, OR BOTH?

AUDIO CONSOLE

CAMERAS

LENSES (H/HH)

FIN5

24' Sprinter, 16' B-Unit

HD/1080p/4Kcapable

Both

Soundcraft EXPression 3 (30 faders, 64 analog inputs/24 analog outputs/18 AES inputs/34 AES outputs )

6 Sony HDC-3500 Cameras, with 3x Super Mo

Canon 2 60X, 1 95X, 2 22X, 1 10X (additional lenses as needed)

RMP6 4K

32' Expanding Unit

HD/1080p/4Kcapable

Fiber

DiGiCo SD9B (96 input channels, 5.1-capable, fiber field kits)

FIN7

24' Sprinter, 16' B-Unit

HD/1080p/4Kcapable

Fiber

FIN8

24' Sprinter, 16' B-Unit

HD/1080p/4Kcapable

Fiber

RM-H1

Ford Transit 350HD - 18' Ford Transit 350HD - 18' Ford Transit 350HD - 18'

720p/1080i

RM-HE1

Chevrolet Box - 18'

RM-HE2

Chevrolet Box - 18'

RM-HE3

Chevrolet Box - 18'

RM-HEX1

International - 26'

RM-HEX2

International - 26'

720p/1080i/1080p HDR 720p/1080i/1080p HDR 720p/1080i/1080p HDR 720p/1080i/1080p HDR 720p/1080i/1080p HDR

RMZ-1

Ford F750 40' Expando

RMZ-2

Calrec Brio 36 (36 Faders, 96 input channels, 5.1 Capable, 2 Fiber Field Kits) Calrec Brio 36 (36 Faders, 96 input channels, 5.1 Capable, 2 Fiber Field Kits)

6X Hitachi 4K UHD SKUHD-4000, 2X Hitachi Super-Slow Motion SK-UHD-4000 (wired for 12) 6 Sony HDC-3500 Cameras, with 3x Super Mo 6 Sony HDC-3500 Cameras, with 3x Super Mo

Triax

None

5- GVF75, 1-GV80WC

2-Hard, 4-HH

720p/1080i

Triax

None

5- GVF75, 1-GV80WC

2-Hard, 4-HH

720p/1080i

Triax

None

5- GVF75, 1-GV80WC

2-Hard, 4-HH

Both

Behringer X32

Both

Soundcraft Studio Live 32

Both

Soundcraft Studio Live 32

Both

Behringer X32

Both

Behringer X32

5-GV86NWC, 1-GV86NXSWC 5-GV82WC, 1-GV86NXSWC 5-GV86NWC, 1-GV86NXSWC 7-GV86NWC, 1-GV86NXSWC 7-GV86NWC, 1-GV86NXSWC

720p/1080i

Triax

Calrec Brio 36 fader

7- GVF75, 1-GV86XSWC

3-Hard, 5-HH

Ford F750 40' Expando

720p/1080i

Triax

Calrec Brio 36 fader

7- GVF75, 1-GV86XSWC

3-Hard, 5-HH

RMZ-3

Ford F750 40' Expando

720p/1080i

Triax

Calrec Brio 36 fader

7- GVF75, 1-GV86XSWC

3-Hard, 5-HH

RMZ-4

Ford F750 40' Expando

720p/1080i

Triax

Calrec Brio 36 fader

7- GVF75, 1-GV86XSWC

3-Hard, 5-HH

RMZ-5

Ford F750 40' Expando

720p/1080i

Triax

Calrec Brio 36 fader

7- GVF75, 1-GV86XSWC

3-Hard, 5-HH

RMZ-6

Ford F750 40' Expando

720p/1080i

Triax

Calrec Brio 36 fader

7- GVF75, 1-GV86XSWC

3-Hard, 5-HH

RMZX-1

Ford F750 43' Expando 720p/1080i/1080p HDR 53' expando 720p/1080i 48' expando 720p/1080i 720p/1080i/1080p 48' expando SDR International - 26' n/a International - 26' n/a

Both

Calrec Brio 36 fader

Triax Both

Calrec Sigma 56 fader Calrec Artemis 64 fader

7- GVF82WC, 1-GV86XSWC 10-GV8000 10-GV8000

6-Hard, 5-HH 6 Hard, 4 HH

Both

Calrec Artemis 40 fader

10-GV80WC

6 Hard, 4 HH

n/a n/a

n/a n/a

n/a n/a

n/a n/a

HD/ SD/1080/720/24pcapable

Both

Calrec Zeta (56)

8 Sony

10 Canon, 2 Fujinon

Both

Yamaha 02R96 (24)

4 Sony

2 Canon

RM-H2

RUSH MEDIA

RM-H3

RMTC-1 RMTC-2 RMTC-3

240

HDLA

40' combo/expando

HD Link

32' combo

HD/SD

TOURING VIDEO

SDTV (ALLIANCE)

RM-B1 RM-B2

TV-2

48' straight body

HD/1080p/4Kdigital cinema

TV-3

43' single expando

TV-4

53' single expando

VIDEOLINES MOBILE TELEVISION

HD-1 HD-2 HD-3

53' 53' 16' box

SPORTS PRODUCTION 2023 YEARBOOK

SMPTE & TAC Stagetech Crescendo (40 Sony HDC-2500/F55/ Fiber faders/120 Ch.) Venice SMPTE & TAC HD/1080p Studer Vista-X (40 faders/120 Ch.) Sony HDC 2500 Fiber & TAC Studer Vista-X (40 faders/120 Ch.) HD/1080p/4K/HDR SMPTE Sony HDC 4300 Fiber HD Triax Yamaha M7CL-48 Ikegami 79E HD Fiber Yamaha 2000 Ikegami 77EX HD Fiber Yamaha (16 channels) Ikegami 77EX

Canon 3 60x, 2 80x, 2 22x, 1 10x (additional lenses as needed) Canon 1 60X, 1 80X, 3 22X, 1 10X (additional lenses as needed) Canon 1 60X, 1 95X, 3 22X, 1 10X (additional lenses as needed)

2-Hard, 4-HH 2-Hard, 4-HH 2-Hard, 4-HH 3-Hard, 5-HH 3-Hard, 5-HH

3-Hard, 5-HH

Canon - Per Request Canon - Per Request Canon - Per Request 2 76X, 2 66X, 2 20X 4 55X, 2 18X 2 55X, 2 18X

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities


MICROPHONES

SWITCHER, M/E

REPLAY DEVICES

ROUTER (VIDEO/AUDIO SIZE)

(3) Ross XPression Graphics Servers

n/a

Ross Carbonite Black Plus

EVS XT Nano, Ross Abekas Mira+

n/a

(3) Ross XPression Graphics Servers

n/a

Ross Carbonite Black Plus

EVS XT Via, (3) Ross Abekas Mira+

(2) Ross Ultrix FR5 160x160

(3) Ross XPression Graphics Servers

n/a

Ross Carbonite Black Plus

EVS XT Go, Ross Abekas Mira+

Ross Ultrix FR5 160x160

(3) Ross XPression Graphics Servers

n/a

Ross Carbonite Black Plus

EVS XT Go, Ross Abekas Mira+

Ross Ultrix FR5 160x160

None

Senn., Sony, Shure

None

None

Blackmagic 40x40

None

Senn., Sony, Shure

None

None

Blackmagic 40x40

None

Senn., Sony, Shure

None

None

Blackmagic 40x40

None

Senn., Sony, Shure

None

None

Blackmagic 52x52

None

Senn., Sony, Shure

None

None

Blackmagic 52x52

None

Senn., Sony, Shure

None

None

Blackmagic 52x52

None

Senn., Sony, Shure

None

None

Blackmagic 52x52

None

Senn., Sony, Shure

None

None

Blackmagic 52x52

Vizrt

Senn., Sony, Shure

Ross Carbonite 3 ME

Evertz EQX 64x64, 512x512

Vizrt

Senn., Sony, Shure

Ross Carbonite 3 ME

Vizrt

Senn., Sony, Shure

Ross Carbonite 3 ME

Vizrt

Senn., Sony, Shure

Ross Carbonite 3 ME

Vizrt

Senn., Sony, Shure

Ross Carbonite 3 ME

Vizrt

Senn., Sony, Shure

Ross Carbonite 3 ME

Vizrt

Senn., Sony, Shure

GV Kayenne 3 ME

Chyron Chyron

Senn., Sony, Shure Senn., Sony, Shure

GV Kayenne 4 ME GV Kayenne 4 ME

1 8-ch. Dreamcatcher, 1 8-ch. Dreamcatcher with HFR 1 8-ch. Dreamcatcher, 1 8-ch. Dreamcatcher with HFR 1 8-ch. Dreamcatcher, 1 8-ch. Dreamcatcher with HFR 1 8-ch. Dreamcatcher, 1 8-ch. Dreamcatcher with HFR 1 8-ch. Dreamcatcher, 1 8-ch. Dreamcatcher with HFR 1 8-ch. Dreamcatcher, 1 8-ch. Dreamcatcher with HFR 1 8-ch. Dreamcatcher, 1 8-ch. Dreamcatcher with HFR 2 6-ch. EVS XT3, 1 4-ch. EVS XT3 2 6-ch. EVS XT3, 1 4-ch. EVS XT3

Chyron

Senn., Sony, Shure

GV Karerra 3 ME

2 6-ch. EVS XT3, 1 4-ch. EVS XT3

Pesa 128x256, 1024x1024

n/a n/a

n/a n/a

n/a n/a

n/a n/a

Chyron Duet HyperX3

Senn., Sony

GV Kayenne, 4M/E

2 EVS XT3, 1 4-ch. SpotBox

Blackmagic 40x40 Blackmagic 40x40 NVision 8288 3-Gig HD/SD video (252x288), Nvision 7512 TDM audio (192x256 AES, 96x80 analog, 32x32 MADI)

N/A

Senn., Sony

Sony MFS-2000, 1.5M/E

Four open slots - multiple format capable

PESA Cougar HD/SDI video (32x32)

Per Request

Senn. 416

Sony MVS-6530, 3M/E

Per Request

Per Request

Senn. 416

Sony MVS-7000x, 6M/E

EVS XT3

Ross XPression

Senn. 416

Sony XVS-7000, 6M/E

EVS XT3

ChyronHego HyperX3 ChyronHego HyperX2 ChyronHego HyperX2

8 shotgun, 4 stick 8 shotgun, 4 stick 4 shotgun, 4 stick

GV Kayak, 4M/E GV Kayak, 2M/E Blackmagic ATEM, 1M/E

3 EVS 2 Tightrope ZEPLAY 1 NewTek 3Play

Riedel MediorNet Decentralized Video/Madi Routing Imagine Platinum (248 in/344 out) audio 128 in Imagine IP3 (422 in/560 out) audio128 in 32x23 video/2-ch. audio 32x23 video/2-ch. audio 16x16 video

Gearbase

GRAPHICS

Evertz EQX 64x64, 512x512 Evertz EQX 64x64, 512x512 Evertz EQX 64x64, 512x512 Evertz EQX 64x64, 512x512 Evertz EQX 64x64, 512x512 Evertz EQX 72x72, 512x512 Pesa 192x288, 512x512 Pesa 128x256, 1024x1024

SPORTS PRODUCTION 2023 YEARBOOK

241


SVGSPONSORDIRECTORY / ADINDEX

SPONSOR 3G WIRELESS

AD PAGE 215

7 POINT AUDIO ADDER TECHNOLOGY

CONTACT

EMAIL

Mobile

Danny Reichert

DannyR@3gwireless.tv

Corporate

Jeff Ball

jeffball@7pointaudio.com

Premier

Natasha Biggs

natasha.biggs@adder.com

ADVANCED IMAGE ROBOTICS

194

Mobile

Kevin McClave

info@advancedimagerobotics.com

ADVANCED SYSTEMS GROUP, LLC.

227

Mobile

Amy Lounsbury

alounsbury@asgllc.com

AE LIVE

191

Mobile

Stuart Coles

Stuart.Coles@ae.live

AERIAL VIDEO SYSTEMS

219

Mobile

Argyle Nelson

anelson@aerialvideo.com

AI-MEDIA | EEG

102

Corporate

Avery Bigford

avery.bigford@ai-media.tv

AJA VIDEO SYSTEMS

66

Corporate

Christina Oliver

christinao@aja.com

ALL MOBILE VIDEO

200

Mobile

Eric Duke

eduke@amvchelsea.com

ALLIED BROADCAST GROUP

175

Mobile

Brad Chapman

brad@alliedbroadcastgroup.com

ALPHA VIDEO

185

Mobile

Jeffrey Volk

jeff.volk@alphavideo.com

AMAGI

6

Platinum

KA Srinivasan (Srini)

cloudandme@amagi.com

AMAZON WEB SERVICES

34

Premier

Paulien Ruijssenaars

paulien@amazon.com

Corporate

Matthew Gutknecht

matthewg@apmmusic.com

APM MUSIC APPEAR

46

Premier

Ed McGivern

Ed.Mcgivern@appear.net

ARCTEK SATELLITE PRODUCTIONS

226

Mobile

Brian Stanley

bstanley@arcteksat.com

ARISTA NETWORKS

Corporate

Ed Chapman

echapman@arista.com

ARKONA TECHNOLOGIES

Corporate

Erling Hedkvist

erling@arkonatech.com

Corporate

Debra Kasparian

DKasparian@ARRI.com

ARTEL VIDEO SYSTEMS

Corporate

Rafael Fonseca

rfonseca@artel.com

ASTOUND BUSINESS SERVICES

Corporate

Sean Sullivan

sean.sullivan@astound.com

Corporate

Alexandre Leclerc

alex@astucemedia.com

ARRI

166

ASTUCEMEDIA

109

AT&T

Platinum

Catherine A. Palaia

cp286m@att.com

ATEME

83

Premier

Silvia Candido

s.candido@ateme.com

AUDAZZIO

134

Corporate

Michele Klumb

Michele@Audazzio.com

AUDIO-TECHNICA

114

Corporate

Gary Dixon

gdixon@atus.com

AZZURRO HD

171

Mobile

John Bonaccorso

jbonaccorso@azzurrohd.com

Mobile

Matt Weiss

info@becktv.com

BECK TV BELDEN

119

Corporate

Christine Williamson

Christine.Williamson@belden.com

BEXEL

123

Platinum

Craig Schiller

cschiller@bexel.com

Premier

Eamon Drew

eamon@bird-dog.tv

BIRDDOG BITFIRE NETWORKS

169

Corporate

Ben Grafchik

bgrafchik@bitfirenetworks.com

BLACKBIRD VIDEO

85

Corporate

Adrian Lambert

A.Lambert@blackbird.video

BLACKMAGIC DESIGN

17

Platinum

Blackmagic Design

info-usa@blackmagicdesign.com

BRAINSTORM

170

Corporate

David Alexander

dalexander@brainstorm3d.com

Corporate

Richie Murray

richie.murray@bridgedigitalinc.com

BRIDGE DIGITAL BROADCAST MANANGMENT GROUP

177

Mobile

Joe Scionti

jscionti@broadcastmgmt.com

BROADCAST SERVICES INTERNATIONAL (BSI)

181

Mobile

Brooke Eady

Brooke@bsi-tv.com

BROADCAST SPORTS INTERNATIONAL (BSI)

198

Mobile

Peter Larsson

Peter.Larsson@BSINTL.COM

Corporate

Jim Bask

Jim@broadfield.com mario.rainville@broadpeak.tv

BROADFIELD DISTRIBUTING

242

LEVEL

BROADPEAK

92

Corporte

Mario Rainville

C360

182

Mobile

Evan Wimer

SPORTS PRODUCTION 2023 YEARBOOK

info@c360live.com All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities


LEVEL

CONTACT

EMAIL

CALREC AUDIO/DIGICO

58

Premier

Dave Letson

dave.letson@calrec.com

CANON

10

Platinum

Richard Eilers

reilers@cusa.canon.com

Mobile

Steven Manios

steve@maniosdigital.com

Platinum

Mike Hone

mhone@cespower.com

Corporate

Per Von Rosen

Per.vonrosen@championdata.com

Premier

Carol Bettencourt

marketinginfo@chyron.com

CARTONI CES POWER

33

CHAMPION DATA CHYRON CINESYS

197

Mobile

Brent Angle

sales@cinesys.io

CIS GROUP

157

Corporate

Matt Silva

matt.silva@cisgroup.tv

CISCO SYSTEMS

131

Corporate

Susan Friedman

sufriedm@cisco.com

Mobile

JB Bowling

jb.bowling@clark.is

Corporate

Dan Collins

dan.collins@clarkwire.com

Premier

Rachel Archibald

rachel.archibald@clearcom.com

CLARK CLARK WIRE & CABLE

97

CLEAR-COM COBALT DIGITAL

51

Premier

Suzana Brady

suzana.brady@cobaltdigital.com

COMPRIMATO

75

Corporate

Jiri Matela

jiri@comprimato.com

CP COMMUNICATIONS

183

Mobile

Aaron Segarra

Aaron.Segarra@cpcomms.com

CREATIVE DIMENSIONS

68

Corporate

Daniel Kiley

dkiley@gowithcd.com

Mobile

Noah Gusdorff

noah@cmsi.tv

CREATIVE MOBILE SOLUTIONS CROWN CASTLE

239

Corporate

Sergio Amatangelo

sergio.amatangelo@crowncastle.com

CTI (CONFERENCE TECHNOLOGIES INC.)

202

Mobile

Tim Albright

tim.albright@cti.com

DAKTRONICS

59

Corporate

Will Ellerbruch

Will.Ellerbruch@daktronics.com

DALE PRO AUDIO

121

Corporate

Dale Pro Audio

info@daleproaudio.com

DALET

Corporate

Amanda Whitaker

awhitaker@dalet.com

DATA EXPEDITION

Corporate

Dana Merk

dmerk@DataExpedition.com

DATACORE

43

Premier

Gregg Machon

info@datacore.com

DELL

143

Corporate

Jeff Grassinger

jeff.grassinger@dell.com

Corporate

Jason Bradwell

jason.bradwell@deltatre.com

Corporate

Dan Devlin

ddevlin@ddgtv.com

Mobile

Christina Anderson

christina.anderson@digitalglue.com

DELTATRE DEVLIN DESIGN GROUP

86

DIGITALGLUE DISGUISE

223

Mobile

Joni Lindes

marketing@disguise.one

DIVERSIFIED

193

Mobile

Steve Stubelt

sstubelt@onediversified.com

DIZPLAI

Corporate

Karoline Lietzen

Karoline.lietzen@dizplai.com

DMC BROADCAST GROUP

Corporate

Don Cardone

Don.Cardone@DENZ.tv

Mobile

Sam Schrade

sam@dnastudios.tv

Platinum

Ellis Reid

ereid@dolby.com

Mobile

Mary Ellen Carlyle

mcarlyle@domeprod.com

Mobile

Dale Smith

dalesmith@DX3media.ca

Corporate

Samantha Tarin

starin@edg.io

Premier

Mike Wright

mike.wright@editshare.com

ELECTRO-VOICE

Corporate

Rob Ferguson

Robert.Ferguson2@us.bosch.com

ELUVIO INC

Corporate

Eluvio

LIVE@eluv.io

Corporate

Peter Ostapiuk

postapiuk@encompass.tv

Platinum

Ilana Trinkenreich

itrinkenreich@equinix.com

DNA STUDIOS

189

DOLBY DOME PRODUCTIONS

206

DX3 MEDIA EDGIO EDITSHARE

ENCOMPASS DIGITAL MEDIA

38

110

EQUINIX ES BROADCAST

234

Mobile

Ryhaan Williams

ryhaan.williams@esbroadcast.com

ESTES FORWARDING WORLDWIDE

93

Corporate

Tom Cross

tom.cross@efwnow.com

SPORTS PRODUCTION 2023 YEARBOOK

SVG Sponsor Directory/Ad index

AD PAGE

SPONSOR

243


SVG Sponsor Directory / Ad Index

SPONSOR

AD PAGE

EUROVISION SERVICES

CONTACT

EMAIL

Platinum

Roch Pellegin

pellerin@eurovision-us.net

EVERGENT

145

Corporate

Seerat Gill

seerat.gill@evergent.com

EVERTZ

50

Premier

Tony Silvestri

tony@evertz.com

EVS

41

Premier

Sébastien Verlaine

s.verlaine@evs.com

EXERTIS BROADCAST

235

Corporate

Exertis Broadcast

BroadcastMarketing@ExertisNA.com

FASTLY

76

Corporate

John Agger

jagger@fastly.com

Platinum

Aaron Frye

aaronf@filmwerkspower.com

FILMWERKS POWER, A SUNBELT RENTALS COMPANY FINGERWORKS TELESTRATORS

62

Corporate

Bryan McKoen

bryan@telestrator.com

FLETCHER SPORTS

187

Mobile

Dan Grainge

dan@fletch.com

FLOWICS BY VIZRT

126

Corporate

Gabriel Baños

gabriel@flowics.com

Mobile

Patrick Hally

patrick@flycamUSA.com

Corporate

Satoshi Kanemura

kanemura@for-a.co.jp

Premier

Mimi Jackson

mjackson@fortinet.com

FLYCAM INTERNATIONAL FOR-A

136

FORTINET FRIEND MTS

115

Corporate

Julia Gracheva

jgracheva@friendmts.com

FUJIFILM

19

Platinum

Thomas Fletcher

Thomas.fletcher@fujifilm.com

FX DESIGN GROUP

29

Premier

Gary Levitt

glevitt@fxgroup.tv

G&D NORTH AMERICA

140

Corporate

Jon W. Litt

jon.litt@gdsys.com

GAME CREEK VIDEO

218

Mobile

Pat Sullivan

psullivan@gamecreekvideo.com

Mobile

Brad Wensley

bwensley@geartech.ca

Corporate

Jodi Morelli

jodi.morelli.ext@globecast.com

Corporate

Matt Silva

matt.silva@cisgroup.tv

Premer

Richard Lee

itsrichard@google.com

Corporate

Jorge Ramirez

jorge@grabyo.com

GEARTECH USA GLOBECAST

155

GLOOKAST GOOGLE CLOUD GRABYO GRASS VALLEY

4

Platinum

Elpi Klapa

elpi.klapa@grassvalley.com

GRAVITY MEDIA

210

Premier

Victoria Poole

Victoria.Poole@gravitymedia.com

HAIVISION

77

Corporate

Mark Villamor

mvillamor@haivision.com

Corporate

Eric Kenyon

eric.kenyon@harmonicinc.com

HARMONIC HLW INTERNATIONAL

190

Mobile

Karishma Patel

kpatel@hlw.com

IHSE USA

55

Premier

Dan Holland

dholland@ihseusa.com

ILLUMINATION DYNAMICS

195

Mobile

Rich Williams

rich@illuminationdynamics.com

IMAGEN

152

Corporate

Anna Cotton

Anna.cotton@imagen.io

IMAGINE COMMUNICATIONS

57

Premier

Kathy Bunting

Kathy.Bunting@imaginecommunications.com

Mobile

Tom McGowan

tom.mcgowan@imtglobalinc.com

INTEGRATED MEDIA TECHNOLOGIES INTELSAT

69

Corporate

Andi Cox

Andrea.Cox@Intelsat.com

JOSEPH ELECTRONICS

98

Corporate

John Cleary

jcleary@josephelectronics.com

Corporate

Dan Skirpan

dskirpan@us.jvckenwood.com

Corporate

Matt McKee

mmckee@jwplayer.com

Mobile

Matt McClain

mmcclain@keycodemedia.com

JVC PROFESSIONAL VIDEO JW PLAYER

103

KEY CODE MEDIA KMH AUDIO-VIDEO INTEGRATION

207

Mobile

Kevin Henneman

khenneman@kmh-integration.com

LAWO

18

Platinum

Wolfgang Huber

wolfgang.huber@lawo.com

LEADER INSTRUMENTS

137

Corporate

Joe Castellano

josephc@leaderamerica.com

Corporate

Gordon Wason

Gordon.wason@legrand.com

Mobile

Doug Cole

dcole@lhcomp.com

LEGRAND AV LH COMPUTER SERVICES

244

LEVEL

178

SPORTS PRODUCTION 2023 YEARBOOK


LEVEL

CONTACT

EMAIL

222

Mobile

Brad Sexton

brad@livemediagroup.com

LIVEU

7

Platinum

Janel Moorefield

janelf@liveu.tv

LTN GLOBAL

161

Corporate

Connie Petrides

connie.petrides@ltnglobal.com

LUCIDLINK

127

Corporate

Julie O'Grady

julie.ogrady@lucinlink.com

LUMEN TECHNOLOGIES

12

Platinum

Elliott Garstin

elliott.garstin@lumen.com

Corporate

Geetanjali Dogra

geetanjali@magnifi.ai

LIVE MEDIA GROUP

MAGNIFI MARKERTEK

42

Premier

Adam June

ajune@markertek.com

MARSHALL ELECTRONICS

87

Corporate

Tod Musgrave

tod@marshall-usa.com

MATROX VIDEO

122

Corporate

Stephen Choi

schoi@matrox.com

Corporate

Paul Babb

p_babb@maxon.net

MAXON MEDIA LINKS

73

Corporate

Tom Canavan

tcanavan@medialinks.com

MEDIAKIND

79

Corporate

Murray Barker

murray.barker@mediakind.com

MEDIAPRO

14

Platinum

Mario Sousa

msousa@mediapro.tv

MEGAPHONE TV

37

Premier

Jamie MacDonald

jamie@megaphonetv.com

MEYERPRO

203

Mobile

Steve Meyer

steve@meyerproinc.com

Premier

Charlotte Bielecki

charlotte.bielecki@microsoft.com

Corporate

Stephen Gallagher

stephen.gallagher@mo-sys.com

Corporate

Greg Schultz

greg@mobii.com

MICROSOFT MO-SYS ENGINEERING

168

MOBII MOBILE TV GROUP

214

Corporate

Nick Garvin

ngarvin@mobiletvgroup.com

MPE

117

Corporate

Neal Pilzer

neal@mpenyc.com

NEMAL ELECTRONICS

105

Corporate

Benjamin Nemser

bnemser@nemal.com

NEP GROUP

11

Platinum

Susan Matis

info@nepgroup.com

NET INSIGHT

132

Corporate

Per Johansson

per.johansson@netinsight.net

Premier

John Henkel

jhenkel@netgear.com

Corporate

James Fraser

james.fraser@newsbridge.io

Corporate

Juli Patty

julip@nextologies.com

NETGEAR AV NEWSBRIDGE

61

NEXTOLOGIES NVIDIA

15

Platinum

Jeff Lowe

jelowe@nvidia.com

OBJECT-MATRIX

163

Corporate

Leanne Tomlin

leanne.tomlin@object-matrix.com

Corporate

Jaclyn Taroc

j.taroc@opendrives.com

Corporate

Cindy Zuelsdorf

hello@opengear.tv

Mobile

Steve Cormier

scormier@osacorp.com

Corporate

Scott Whitcomb

scottw@ospreyvideo.com

Premier

Kate Lajeunesse

Kate.Lajeunesse@us.panasonic.com

OPENDRIVES OPENGEAR PARTNER NETWORK

211

OSA INTERNATIONAL OSPREY VIDEO PANASONIC PHENIX REAL TIME SOLUTIONS

147

Corporate

Jed Corenthal

jed.corenthal@phenixrts.com

PIXELLOT

70

Corporate

Yossi Tarablus

yossit@pixellot.tv

PIXERA

201

Mobile

Conor McGill

conor@avstumpflusa.com

Corporate

Ben Davenport

ben.davenport@pixotope.com

Mobile

Paul Kosac

paul.kosac@planetcastinternational.com

Corporate

Mark Yin

mark@platinasystems.com

Corporate

Gary Rosen

Gary.rosen@plianttechnologies.com

Platinum

Erin Bates

ebates@prg.com

Mobile

Adam Ledgister

adam.ledgister@productionrockstars.com

PRODUCTIONHUB

Corporate

Steve Rotz

srotz@productionhub.com

PROFESSIONAL WIRELESS SYSTEMS

Corporate

Jimmy Van Winkle

JimmyV@ProfessionalWireless.com

PIXOTOPE PLANETCAST PLATINA SYSTEMS PLIANT TECHNOLOGIES PRG PRODUCTION ROCKSTARS

80

SPORTS PRODUCTION 2023 YEARBOOK

SVG Sponsor Directory/Ad index

AD PAGE

SPONSOR

245


SVG Sponsor Directory / Ad Index

AD PAGE

LEVEL

CONTACT

EMAIL

2

Platinum

Amy Scheller

ascheller@programproductions.com

230

Mobile

Clint Bergeson

info@pssiglobal.com

PUGET SYSTEMS

Premier

Eric Brown

eric@pugetsystems.com

PURE MOBILE PRODUCTIONS

Mobile

Jim Neely

JimN@Puremobileproductions.com

SPONSOR PROGRAM PRODUCTIONS PSSI GLOBAL SERVICES

Q5X

94

Corporate

Paul Johnson

sales@q5x.com

QUANTUM

148

Corporate

Michele Fanning

Michele.fanning@quantum.com

Premier

Justin Karpowich

justinkarpowich@qvest.us

Mobile

Matt Rohrs

m.rohrs@rcs.live

Mobile

Rob Bunn

rob.bunn@rfwireless.com

Platinum

Joyce Bente

Joyce.Bente@riedel.net

Mobile

Richard Glandorf

rich@robovision.com

QVEST.US RCS

173

RF WIRELESS RIEDEL COMMUNICATIONS

26, 27

ROBOVISION ROHDE & SCHWARZ

49

Premier

Burt Young

Burt.Young@rsa.rohde-schwarz.com

ROSS VIDEO

3

Platinum

Paul Seymour

pseymour@rossvideo.com

RT SOFTWARE

111

Corporate

Mike Fredriksen

mike@rtsw.co.uk

Corporate

Angelo Piga

angelo.piga@us.bosch.com

Mobile

Tim Eichorst

timeichorst@rushmediaco.com

RTS INTERCOM SYSTEMS RUSH MEDIA GROUP SEAGATE TECHNOLOGY

165

Corporate

Mark Anderson

Mark.B.Anderson@Seagate.com

SENCORE

63

Corporate

Brandon Baker

brandon.baker@sencore.com

SENNHEISER

Corporate

Jennifer Lee

Jennifer.Lee@sennheiser.com

SES

Corporate

Miriam Benedicto

miriam.benedito@ses.com

SHURE

54

Corporate

Celino Ullegue

ulleguc@shure.com

SIGNIANT

53

Premier

Jon Finegold

jfinegold@signiant.com

SILVER SPOON ANIMATION

99

Corporate

Laura Herzing

laura@silverspoonanimation.com

SINGULAR.LIVE

153

Corporate

Mike Ward

mike@singular.live

Mobile

Stephen Wharton

stephen.wharton@skycam.tv

SKYCAM SKYLINE COMMUNICATIONS

71

Corporate

Thomas Gunkel

hi@skyline.be

SMT

129

Corporate

Patricia Hopkins

p.hopkins@smt.com

SOLID STATE LOGIC

159

Corporate

Ross Gilbert

rossg@solidstatelogic.com

SONY

8

Platinum

Rob Willox

Robert.Willox@sony.com

SOS GLOBAL

22

Corporate

Michelle Truman

mtruman@sosglobal.com

Mobile

Tom Read

tom@spalk.co

Corporate

Hossein ZiaShakeri

broadcast@spectralogic.com

Corporate

Todd Patton

todd.patton@spiideo.com

SPALK SPECTRA LOGIC

64

SPIIDEO SPORTRADAR

88

Corporate

Steve Byrd

s.byrd@sportradar.com

SSIMWAVE

164

Corporate

Maria Alexandrova

maria.alexandrova@ssimwave.com

ST ENGINEERING IDIRECT

186

Mobile

Bart De Moor

bdmo@idirect.net

STATS PERFORM

Corporate

Stephanie Brown

sbrown@stats.com

STREANN MEDIA

Corporate

Leandro Finol

leandro@streann.com

Corporate

Steve McKenna

smckenna@studionetworksolutions.com

Mobile

Bobby Stevens

bstevens@suitelifesystems.com

Mobile

Jonathan Millar

jonathan.millar@superleague.com

SUPPONOR

Corporate

David Patton

david.patton@supponor.com

SYNAMEDIA

Corporate

Simon Brydon

sbrydon@synamedia.com

Mobile

Neil Morrison

neil.morrison@lmgsi.net

STUDIO NETWORK SOLUTIONS (SNS)

95

SUITELIFE SYSTEMS SUPER VIEW

174

SYSTEMS INNOVATION (LMG)

246

SPORTS PRODUCTION 2023 YEARBOOK

All information subject to change. Please contact the truck vendor’s Website for the most current information on equipment and capabilities


TAG VIDEO SYSTEMS TAGBOARD

AD PAGE 130

LEVEL

CONTACT

EMAIL

Corporate

TAG Video Systems

info@tagvs.com

39

Premier

Elyse Loeb

elyseloeb@tagboard.com

Corporate

Utkarsh Gosain

utkarsh.gosain@tatacommunications.com

TATA COMMUNICATIONS TECHNICOLOR

151

Corporate

Tony Bozinni

tony.bozzini@philips.com

TELEMETRICS

141

Corporate

Anthony Cuomo

aec@telemetricsinc.com

TELESTREAM

47

Premier

Doug Hansel

Doug@highrezpr.com

Corporate

Stuart Russell

stuart.russell@tellyo.com

TELLYO TELOS ALLIANCE

25

Premier

Jennifer Burkhardt

jennifer.burkhardt@telosalliance.com

TELSTRA

106

Corporate

Telstra Broadcast Services

telstrabroadcastbookings@team.telstra.com

Corporate

Andrew Ng

pr@cs.inc

Mobile

Eric Burak

eric@thefamousgroup.com

TERADEK THE FAMOUS GROUP THE STUDIO B&H

113

Corporate

Michel Suissa

michels@bandh.com

THE SWITCH

23

Platinum

Christian Kneuer

christian.kneuer@theswitch.tv

Premier

Rob Friedlander

robert@transmit.live

TRANSMIT TSL PRODUCTS

82

Corporate

Greg Siers

enquiries@tslproducts.com

TVU NETWORKS

31

Platinum

Eric Chang

echang@tvunetworks.com

UNIQFEED

133

Corporate

Marcel Naef

marcel.naef@uniqfeed.com

UNREAL ENGINE

35

Premier

Craig Laliberte

craig.laliberte@epicgames.com

VARIANT SYSTEMS GROUP

Corporate

Olaf Bahr

olaf@vsglive.com

VCC (THE VIDEO CALL CENTER)

Corporate

Josh Koller

jkoller@thevcc.tv

Corporate

Eric Bartels

eric@venueedgepro.com

Premier

Billy Gil

bgil@veritone.com

VENUE EDGE

144

VERITONE VERIZON BUSINESS GROUP

30

Premier

Steve Walter

stephen.walter@verizon.com

VERSUS SYSTEMS

67

Corporate

Gina Pierce

regina.pierce@versussystems.com

Mobile

Robert Lefcovich

robertlefcovich@gmail.com

VETERANS-TV VIDEON

89

Corporate

Richard Carreon

richard.carreon@videonlabs.com

VIDISPINE, AN ARVATO SYSTEMS BRAND

160

Corporate

Kurt Krinke

kurt.krinke@arvatosystems.com

VIDOVATION

179

Mobile

Rich Anderson

ricka@vidovation.com

VISLINK TECHNOLOGIES

149

Corporate

Daniel Carpini

daniel.carpini@vislink.com

VISTA WORLDLINK

125

Corporate

Joshua Liemer

jliemer@vistaworldlink.com

VITAC

107

Corporate

Dave Titmus

david.titmus@vitac.com

VITEC

156

Corporate

Bryan Reksten

bryan.reksten@vitec.com

VIVARO MEDIA

238

Corporate

Renata Cuppen

renata.cuppen@vivaro.com

VIZRT GROUP

45

Premier

Amisa Saari-Stout

asaari-stout@vizrt.com

WASABI TECHNOLOGIES

74

Corporate

Lindsay Daly

ldaly@wasabi.com

WAVES AUDIO

118

Corporate

Udi Henis

udih@waves.com

WESCO

81

Corporate

Jon Roberts

jon.roberts@wescodist.com

WILDMOKA

139

Corporate

Catherine Cywinska

catherine@wildmoka.com

Corporate

Joe DaCosta

joe.dacosta@wsc-sports.com

WSC SPORTS XYTECH SYSTEMS

101

Corporate

Greg Dolan

gdolan@xytechsystems.com

ZERO DENSITY

196

Mobile

Birim Yamanlar

birim.yamanlar@zerodensity.tv

ZIXI

21

Platinum

John Wastcoat

john.wastcoat@zixi.com

SPORTS PRODUCTION 2023 YEARBOOK

SVG Sponsor Directory/Ad index

SPONSOR

247


Turn static files into dynamic content formats.

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Articles inside

Storytelling like never seen before

9min
pages 223-225, 228-229, 232, 234, 236-237, 239-240

The most powerful and reliable remote production system

2min
pages 214, 216, 220-222

Gearbase

5min
pages 199, 201-202, 205-206, 208-210, 212

Your Workflow (re) imagined.

1min
pages 197-198

Transform your ideas into engaging content

1min
pages 170-172, 175-176, 178-182, 184

ARRI AMIRA LIVE MULTICAM SYSTEM

1min
pages 166-169

Our Solution. Your Success.

3min
pages 160-164

The ultimate live sports viewing experience

9min
pages 151, 154-156, 158

Watch & Bet: The Future of Sports Betting

4min
pages 147-148, 150

Power your Sports Streaming Business with Evergent’s Monetization Capabilities

4min
pages 145-146

AND KVM FEELS RIGHT.

5min
pages 140, 142-143

Provider PROFILES BROADCAST SERVICES

7min
pages 135, 138

PROBE. MONITOR. VISUALIZE. ANALYZE.

1min
pages 130, 132-134

DARRELL WENHARDT

4min
page 128

Lucidlink Jump into any project. Anywhere in the world.

1min
page 127

DEENA SHELDON

4min
pages 124, 126

MANOLO ROMERO

3min
page 120

ROSS GREENBURG

4min
pages 116-117

ROGER GOODELL

4min
pages 112-113

Complete Solution for Sports Broadcast Graphics

1min
page 111

DREW ESOCOFF

4min
page 108

JOE BUCK

4min
pages 104, 107

HIGHLY ACCURATE, RELIABLE SPORTS CAPTIONING

1min
page 102

TERRY BRADSHAW

4min
page 100

TERRY ADAMS

4min
pages 96, 98

CLASS OF 2022

1min
page 91

Get ahead of the game with TSL

2min
pages 82, 84, 88-90

ENGAGE your fans!

1min
pages 79-80

Color. Simplified.

5min
pages 66-68, 70-72, 74, 76, 78

The State of the Remote Production Business

2min
page 65

DEEP DIVEspotlight

1min
pages 60-62, 64

DEEP DIVEspotlight

2min
pages 56, 58-59

FASTER. PORTABLE. EVEN MORE RUGGED.

1min
page 54

DEEP DIVEspotlight

2min
pages 52-53

DEEP DIVEspotlight Thursday Night Football

1min
page 48

Struggling to ‘go cloud’?

1min
pages 45-47

XtraMotion

1min
pages 41, 44

DEEP DIVE

2min
page 40

DEEP DIVE

1min
page 36

DEEP DIVE

1min
pages 32, 34

DEEP DIVE

1min
page 28

DEEP DIVE

1min
pages 24-27

DEEP DIVE

4min
pages 20-21, 23

New URSA Broadcast G2

1min
page 17

DEEP DIVE

1min
page 16

We Make Amazing Happen!

1min
page 14

DEEP DIVE

1min
page 13

THE RIGHT TOOLS FOR THE GAME AT HAND

1min
page 10

Looking Ahead Welcome to the 2023 SVG Sports Production Yearbook!

4min
pages 9-10

CAPTURE EVERY PLAY, ANGLE, & EMOTION.

1min
page 8

CREATE THE ULTIMATE FAN EXPERIENCE

1min
pages 3-5

Storytelling like never seen before

9min
pages 223-225, 228-229, 232, 234, 236-237, 239-240

The most powerful and reliable remote production system

2min
pages 214, 216, 220-222

Gearbase

5min
pages 199, 201-202, 205-206, 208-210, 212

Your Workflow (re) imagined.

1min
pages 197-198

Transform your ideas into engaging content

1min
pages 170-172, 175-176, 178-182, 184

ARRI AMIRA LIVE MULTICAM SYSTEM

1min
pages 166-169

Our Solution. Your Success.

3min
pages 160-164

The ultimate live sports viewing experience

9min
pages 151, 154-156, 158

Watch & Bet: The Future of Sports Betting

4min
pages 147-148, 150

Power your Sports Streaming Business with Evergent’s Monetization Capabilities

4min
pages 145-146

AND KVM FEELS RIGHT.

5min
pages 140, 142-143

Provider PROFILES BROADCAST SERVICES

7min
pages 135, 138

PROBE. MONITOR. VISUALIZE. ANALYZE.

1min
pages 130, 132-134

DARRELL WENHARDT

4min
page 128

Lucidlink Jump into any project. Anywhere in the world.

1min
page 127

DEENA SHELDON

4min
pages 124, 126

MANOLO ROMERO

3min
page 120

ROSS GREENBURG

4min
pages 116-117

ROGER GOODELL

4min
pages 112-113

Complete Solution for Sports Broadcast Graphics

1min
page 111

DREW ESOCOFF

4min
page 108

JOE BUCK

4min
pages 104, 107

HIGHLY ACCURATE, RELIABLE SPORTS CAPTIONING

1min
page 102

TERRY BRADSHAW

4min
page 100

TERRY ADAMS

4min
pages 96, 98

CLASS OF 2022

1min
page 91

Get ahead of the game with TSL

2min
pages 82, 84, 88-90

ENGAGE your fans!

1min
pages 79-80

Color. Simplified.

5min
pages 66-68, 70-72, 74, 76, 78

The State of the Remote Production Business

2min
page 65

DEEP DIVEspotlight

1min
pages 60-62, 64

DEEP DIVEspotlight

2min
pages 56, 58-59

FASTER. PORTABLE. EVEN MORE RUGGED.

1min
page 54

DEEP DIVEspotlight

2min
pages 52-53

DEEP DIVEspotlight Thursday Night Football

1min
page 48

Struggling to ‘go cloud’?

1min
pages 45-47

XtraMotion

1min
pages 41, 44

DEEP DIVE

2min
page 40

DEEP DIVE

1min
page 36

DEEP DIVE

1min
pages 32, 34

DEEP DIVE

1min
page 28

DEEP DIVE

1min
pages 24-27

DEEP DIVE

4min
pages 20-21, 23

New URSA Broadcast G2

1min
page 17

DEEP DIVE

1min
page 16

We Make Amazing Happen!

1min
page 14

DEEP DIVE

1min
page 13

THE RIGHT TOOLS FOR THE GAME AT HAND

1min
page 10

Looking Ahead Welcome to the 2023 SVG Sports Production Yearbook!

4min
pages 9-10

CAPTURE EVERY PLAY, ANGLE, & EMOTION.

1min
page 8

CREATE THE ULTIMATE FAN EXPERIENCE

1min
pages 3-5
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